THE  PRACTICAL 

BOOK  OF  FURNISHING 

THE  SMALL  HOUSE  & 

APARTMENT 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 


PRESENTED  BY 

Glen   G.    Mosher 


4Z5 

GLEN     G.     M OS  HER 


THE 
PRACTICAL  BOOKS 

OF  HOME   LIFE  ENRICHMENT 

EACH  PROFUSELY  ILLUS- 
TRATED, HANDSOMELY  BOUND. 

Octavo.    Cloth.    In  a  slip  case. 

THE  PRACTICAL  BOOK  OF 
INTERIOR  DECORATION 

BY 

EBERLEIN,  McCLURE  AND  HOLLOWAY 
NEW  EDITION 

THE   PRACTICAL    BOO.K 

OF    EARLY   AMERICAN 

ARTS  AND  CRAFTS 

BY  HAROLD  DONALDSON  EBERLEIN 
AND  ABBOT  McCLURE 

THE    PRACTICAL    BOOK 
OF  ARCHITECTURE 

BY  C.  MATLACK  PRICE 

THE    PRACTICAL    BOOK 
OF  ORIENTAL  RUGS 

BY  G.  GRIFFIN  LEWIS 
NEW  EDITION,  REVISED  AND  ENLARGED 

THE  PRACTICAL  BOOK  OF 
GARDEN  ARCHITECTURE 

BY  PHEBE  WESTCOTT  HUMPHREYS 

THE    PRACTICAL    BOOK 
OF  PERIOD  FURNITURE 

BY  HAROLD  DONALDSON  EBERLEIN 

AND  ABBOT  McCLURE 

NEW  EDITION 

THE  PRACTICAL  BOOK  OF 
OUTDOOR  ROSE  GROWING 

BY  GEORGE  C.  THOMAS,  JR. 
NEW  EDITION,  REVISED  AND  ENLARGED 


PLATE  i 


I 

ft 

I 


THE   PRACTICAL 

BOOK  OF   FURNISHING 

THE  SMALL   HOUSE  AND 

APARTMENT 

BY 

EDWARD  STRATTON  HOLLOWAY 

JOINT  AUTHOR  OF 
"THE  PRACTICAL  BOOK  OF 
INTERIOR  DECORATION" 


WITH  9  ILLUSTRATIONS  IN  COLOUR 

198  IN  DOUBLE  TONE  AND 

7  DIAGRAMS 


PHILADELPHIA  W  LONDON 

J.  B.  LIPPINCOTT  COMPANY 
1922 


COPYRIGHT.  Ip22,  BY  J.  B.  LIPPINCOTT  COMPANY 


PRINTED  BY  J.  B.  LIPPINCOTT  COMPANY 

AT  THE  WASHINGTON  SQUARE  PRESS 

PHILADELPHIA,  U.  S.  A. 


TO 
C.  G.  H. 

WHO  HAS  MADE 

MY  OWN    HOME 

A  HAPPY  PLACE 

TO  LIVE  IN 


We  are  so  blinded  by  custom  that  we  seldom 
consider  what  a  mysterious  endowment  of  our 
human  nature  is  this  sense  of  beauty  and  our  satis- 
faction in;it,  and  our  longing  for  its  perfect  presence. 
Beyond  what  is  useful,  what  is  true,  what  is  good 
and  orderly  and  just,  there  clings  to  the  soul  of  man 
this  idea  of  what  is  infinitely  beautiful.  A  man  may 
not  be  able  to  explain  it,  but  there  it  is.  He  may 
not  be  able  to  agree  with  other  men  as  to  what 
constitutes  such  beauty,  but  the  sense  of  it  is  there 
in  him  and  in  them,  importunate,  indestructible. 

CANON  GEORGE  WILLIAM  DOUGLAS, 
CATHEDRAL  OF  ST.  JOHN  THE  DIVINE, 

NEW  YORK 


From  an  ex  tempore  address  at  the  Cathedral  Auxiliary 
meeting.  Diocese  of  Pennsylvania,  reprinted  in  The 
Living  Church. 


FOREWORD 

A  REVIEWER  in  a  noted  journal  remarked  upon  the 
"naive  expression"  introducing  "The  Practical  Book 
of  Interior  Decoration" :  "  It  is  hard  to  understand  why  some- 
one has  not  written  such  a  book  before. "  That  expression 
— more  sophisticated  under  the  circumstances  than  he  in 
England  was  perhaps  aware — is  repeated  here :  It  is  hard  to 
understand  why  someone  has  not  written  such  a  book  as  this 
one  before. 

What  then  is  the  purpose  of  this  volume  and  what  does 
it  do? 

I.  It  treats  of  the  furnishing  of  premises  from  the  most 
simply  and  inexpensively  equipped  cottage,  bungalow,  or 
flat,  through  the  varying  grades  of  home  to  the  smart  apart- 
ment or  the  house  of  fair  dimensions. 

II.  It  discusses  for  the  decision  of  the  householder  the 
relative   advantages   under   various    circumstances   of   the 
Modern  non-period  mode  and  Liberal  Period  furnishing — 
the  latter  being  described  in  its  proper  place.    The  aim  of 
this  volume  is  to  present  a  thorough-going  manual  of  aid  in 
both  methods — the  Modern  system  being  treated  in  three 
sections:  the  most  inexpensive,  that  of  medium  cost,  and 
the  highest  development  of  this  mode.     Period  furnishing  is 
treated  with  like  practicality  through  the  four  great  decora- 
tive movements.    The  needs  of  all  classes  are  considered — 
from  those  who  have  exceedingly  little  money  to  spend  in  the 
equipment  of  their  homes  to  those  to  whom  cost  is  not  of 
first  consideration.     It  abundantly  allows  for  and  provides 
for  all  temperaments  and  tastes,  from  the  plainest  to  those 
who  demand  novelty  and  much  interest.    In  any  case  its  two 
watchwords  are  Use  and  Beauty,  and  in  allowing  for  novelty 
it  deprecates  that  which  is  merely  freakish  and  temporary. 
Complete  possible  furnishing,  throughout,  of  a  number  of 


8  FOREWORD 

premises  in  the  different  scales  has  been  indicated  as  an  aid  to 
the  householder — colour-schemes,  appropriate  walls,  furni- 
ture, textiles,  and  accessories  being  suggested  for  each  room. 

III.  For  the  first  time,  there  is  shown  in  this  volume, 
with  every  scheme  of  furnishing  presented,  actual  furniture 
appropriate  thereto  to  be  purchased  in  the  open  market  to-day, 
and  in  many  cases  actual  textiles  with  which  it  may  be 
covered.    This  in  no  way  limits  the  householder,  for  he  may 
purchase  what  he  pleases  and  where  it  pleases  him  to  buy  it, 
but  he  is  furnished  with  a  tangible  guide  to  what  is  suitable 
not  only  in  itself  but  as  regards  expense.     If  what  is  illus- 
trated meets  his  views,  he  has  the  satisfaction  of  knowing 
that  it  is  purchasable  through  his  own  dealer  of  the  manu- 
facturer, whose  name  is  in  each  case  given.    In  some  cases 
where  these  articles  are  sold  direct  to  the  householder,  this 
also  is  indicated.    The  necessity  of  showing  actual  furniture 
will  be  made  plain  shortly. 

It  was  manifestly  impossible  to  carry  out  this  plan  so 
fully  for  England  as  for  America,  but  much  furniture  designed 
by  interior  architects  and  craftsmen  appears.  The  number 
of  illustrations  given  of  interiors  designed  in  the  Modern 
manner  by  able  English  interior  architects  is  much  in  excess 
of  that  by  Americans,  for  the  reason  that  this  method  has 
there  been  more  thoroughly  worked  out. 

IV.  Furniture  does  not  constitute  furnishing:  decoration 
is  more  than  its  elements.    These  must  be  given  adequate 
background,  they  must  fittingly  be  bestowed  and  arranged: 
form  and  harmonious  colour  are  of  the  highest  importance. 
Taste  is  insufficient  till  accompanied  by  knowledge. 

The  particular  method  to  be  decided  upon  in  aiding  the 
householder  in  a  sphere  where  too  often  he  is  utterly  at  sea 
is  enough  to  stagger  the  writer  on  decoration  and  render  him 
sufficiently  humble.  There  is,  however,  a  cheering  beacon 
light.  Furnishing  is  largely  a  matter  of  enlightened  common- 


FOREWORD  9 

sense.  I  am  fully  convinced  that  the  average  householder 
possesses  an  abundance  of  the  admirable  quality,  sometimes 
but  not  always  enlightened  by  knowledge  and  experience  in 
this  particular  direction.  Common-sense,  therefore,  is  the 
basis  of  this  work.  The  reader  is  shown  how  to  make  the 
utmost  use  of  the  faculty  he  already  possesses:  principles 
are  developed  from  actual  practice,  and  the  reason  for  each 
step  is  given  as  he  proceeds.  I  believe  the  administration 
of  theory  "in  chunks"  to  be  provocative  of  acute  mental 
indigestion,  and  that  intelligent  human  beings  prefer  to  be 
aided  in  thinking  for  themselves  rather  than  be  prodded 
with  the  stick  of  knowledge.  Each  step  in  furnishing  is 
therefore  fully  described  and  illustrated,  increasing  the 
reader's  perceptions  by  his  own  progress,  additional  knowl- 
edge being  imparted  as  it  becomes  necessary.  Hence  he  is 
asked  to  go  through  the  book  from  the  beginning,  as  the 
simplest,  most  inexpensive  furnishing  brings  out  principles 
and  hints  that,  naturally,  cannot  be  repeated  again  and 
again  through  the  various  grades  of  furnishing  treated. 

Right  judgment  and  fine  perception  imply  that  there 
are  actualities  to  be  judged  and  perceived:  form  and  colour 
are  real  and  scientific  in  their  qualities.  A  feeling  for  beauty 
in  its  higher  reaches  is  undoubtedly  a  gift,  but  who  shall 
say  that  it  is  not  often  unexpectedly  latent  and  but  needs 
development:  it  is  the  business  and  the  pleasure  of  the  prac- 
tical writer  on  art  to  aid  in  such  an  unfolding  of  talent  and 
to  the  utmost  of  his  ability. 

By  the  method  indicated,  the  reader  will  quickly  learn 
to  apply  his  knowledge  to  his  own  problems,  gaining  con- 
fidence as  he  proceeds.  If  a  style  of  furnishing  beyond  his 
personal  skill  and  requiring  the  services  of  a  decorator  is 
decided  upon,  he  will  then  be  in  a  position  to  value  the 
professional  suggestions  made  him,  both  parties  mutually 
working  towards  the  securing  of  a  home  suitable  to  himself, 


io  FOREWORD 

his  family  and  his  general  manner  of  life.  The  decorator  is 
too  frequently  blamed  for  carrying  out  schemes  without 
much  regard  to  their  appropriateness,  whereas  it  is  usually 
the  fault  of  the  householder,  who  is  likely  unable  to  under- 
stand, or  else  is  furnishing  for  display  rather  than  from  a 
sincere  desire  to  realise  for  himself  a  comfortable  and 
suitable  environment. 

V.  In  addition  to  tne  many  illustrations  of  furniture 
and  textiles,  the  reader  is  supplied  with  numerous  examples 
of  furnishing  by  noted  architects,  decorators,  and  house- 
holders of  knowledge  and  taste;  these  being  rendered  of 
greater  helpfulness  by  a  careful  indication  in  the  text  of 
admirable  features  and  qualities,  and  also  in  some  cases 
by  criticism. 

VI.  Colour  in  its  application  to  household  furnishing  has 
fully  and  carefully  been  worked  out,  and  a  new  plan  for  the 
securing  of  unity  throughout  the  entire  premises  with  the 
greatest  possible  variety  is  here  presented.     This  plan  is 
actually  applied  through  a  number  of  schemes,  so  as  to  show 
its  practical  results.     Numerous  colour-schemes  and  hints 
for  their  use  are  also  given. 

The  value  of  a  mutual  comprehension,  good-will,  and 
solidarity  between  the  peoples  composing  the  English-speak- 
ing world  cannot  be  over-estimated,  and  the  place  of  the 
home  in  the  estimation  of  Anglo-Saxons  needs  not  be  stressed. 
One  of  the  greatest  pleasures  connected  with  this  volume 
has  been  the  presentation  to  American  readers  of  so  many 
examples  of  modern  British  work,  and  the  charming  spirit  of 
co-operation  evinced  by  their  designers  in  supplying  me  with 
original  drawings  and  in  their  correspondence.  I  venture  to 
hope  that  American  procedure  may  be  also  of  great  interest 
in  England  and  her  colonies,  and  I  have  endeavoured  to 
make  this  volume  universally  applicable  and  helpful. 


FOREWORD  ii 

In  schools,  the  study  of  household  art  is  yearly  receiving 
greater  attention,  and  hundreds  of  copies  of  "The  Practical 
Book  of  Interior  Decoration"  are  annually  used  by  educa- 
tional institutions.  Because  of  the  plan  employed  in  the 
present  work,  of  proceeding  upon  a  basis  of  reason,  and 
because  it  treats  of  the  abodes  of  average  people,  it  is  believed 
that  it  will  prove  of  much  value  in  this  connexion. 

The  decorator  will  find  much  to  interest  him  in  the  illus- 
trations if  not  also  in  the  text.  The  dealer  and  his  salesman 
continually  come  in  contact  with  the  householder  and  they  are 
universally  appealed  to  for  advice.  This  volume  will  not  only 
aid  them  regarding  colour  and  desirable  combinations  of 
period  furniture,  but  it  treats  fully  of  the  "Modern"  style  with 
which  they  are  usually  not  at  all  familiar.  This  method  may 
indeed  open  a  new  field  in  the  business  of  the  retail  dealer. 

It  has  been  another  great  pleasure  to  give  credit  where 
credit  is  due;  in  every  instance  where  I  had  knowledge  of  the 
originator  has  his  name  been  stated.  Particularly  is  this  the 
case  with  the  manufacturers  of  furniture.  Due  acknowl- 
edgement is  habitually  given  to  architects  and  to  decorators 
— why  is  the  manufacturer  of  the  furniture  employed  in 
interiors  designed  by  them  to  remain  anonymous?  Is  not 
furniture  an  art-product  ?  Will  it  ever  in  public  estimation  be 
regarded  at  its  proper  value  while  it  is  considered  merely  an 
article  of  merchandise,  made  supposedly  by  someone  and  in 
some  location  but  by  whom  and  where  no  one  knows  or 
cares!  The  anonymity  of  furniture  militates  against  the 
interest  every  man  should  feel  in  his  production,  in  his  life's 
work.  Did  we  ever  know  an  artist  to  labour  for  years  in  the 
exposition  of  beauty  and  never  sign  a  picture?  Till  furni- 
ture is  regarded  as  a  thing  of  beauty  to  be  signed  by  its 
maker,  never  will  it  be  appreciated  at  its  full  value,  never 
will  it  become  all  that  it  might  be  in  excellence  and  worth. 

But  the  illustration  of  actual  furniture  has  the  greatest 


12  FOREWORD 

practical  value.  It  enables  the  householder  to  study,  and 
compare,  and  learnr  in  a  way  impossible  to  him  in  hurried 
visits  to  shops;  it  gives  him  an  opportunity  of  debating  at 
his  leisure  what  types  are  best  suited  to  his  purposes;  it  may 
acquaint  him  with  styles  and  designs  of  which  he  is  ignorant. 

If  a  shield-backed  Hepplewhite  chair  is  referred  to  it 
is  immediately  visualised  by  anyone  familiar  with  period 
furniture,  but  if  an  author  mentions  one  of  the  multitudinous 
types  of  Modern  furniture  how  shall  the  householder  knows 
of  what  he  writes?  It  is  not  standardised,  and  the  only 
possible  road  to  clearness  is  showing  him  actual  pieces,  as 
is  here  done.  He  may  purchase  these  or  others,  but  he  now 
knows  the  type  referred  to.  It  was  naturally  impossible, 
without  increasing  the  selling  price  of  this  volume,  to  illus- 
trate a  greater  quantity  of  period  furniture,  but  enough  has 
been  shown  to  enable  the  reader  to  gather  a  general  knowl- 
edge of  the  various  styles  and  to  acquaint  him  with  the 
character  of  furniture  he  may  purchase. 

All  this  has  involved  months  of  labour  in  exploring  the 
market,  correspondence  with  manufacturers  of  furniture  and 
textiles,  securing  photographs,  and  in  many  cases  personally 
mounting  them  in  groups  for  reproduction,  but  the  reader  is 
now  supplied  with  something  tangible.  The  editors  of  house- 
hold journals  say  that  they  are  constantly  in  receipt  of 
enquiries  from  subscribers  asking  where  they  can  obtain  furni- 
ture shown  in  interiors  illustrated  in  their  columns — which 
enquiries  they  are  unable  to  answer.  This  shows  the  need 
of  the  householder  for  a  large  selection  of  purchasable 
furniture  which  he  can  refer  to  in  the  supplying  of  his  own 
requirements. 

I  have  indulged  in  no  platitudes  on  the  value  of  the  home 
and  its  influence — if  the  reader  were  not  convinced  of  this 
much  it  is  not  likely  that  he  would  have  this  volume  in  his 
hands.  Nor  has  it  been  my  object  to  write  a  "beautiful 


FOREWORD  13 

essay"  on  household  art — a  hazy  dream  of  "the  ideal  home 
that  is  born,  not  made",  as  one  says,  whatever  that  cryptic 
phrase  may  chance  to  mean:  I  have  simply  and  sincerely 
tried  to  convey  in  such  a  degree  of  clear,  concise,  and  idio- 
matic English  as  I  am  able  to  command,  information  which 
the  householder  needs  and  desires  to  possess. 

For  their  kind  co-operation  I  most  heartily  thank 
those  in  England — Messrs.  Hall  Thorpe,  R.B.A.,  Percy  A. 
Wells,  W.  J.  Palmer  Jones,  George  Sheringham,  Shirley  B. 
Wainwright,  P.  Waals,  The  Colourcraft  Company,  Barry 
Parker  and  Raymond  Unwin,  Sydney  A.  Gimson,  Ambrose 
Heal,  Oetzmann  &  Co.,  Ltd.,  The  Furniture  Trade  Organiser 
for  the  privilege  of  reproducing  plates,  and  The  Studio. 

In  America  I  wish  sincerely  to  thank  the  many  who  have 
aided  me  by  their  courtesies — Good  Furniture  Magazine  for 
arranging  for  the  use  of  material  that  has  substantially 
appeared  in  its  pages  and  for  illustrations,  and  to  its  Editor, 
Henry  W.  Frohne,  Esq.,  personally,  for  his  continued  interest 
and  his  encouragement  in  this  enterprise  and  for  information 
regarding  furniture,  to  The  House  Beautiful,  likewise,  for 
arranging  for  the  use  of  material  and  illustrations,  and  to 
House  and  Garden,  to  Harold  Donaldson  Eberlein,  Esq., 
in  appreciation  of  our  many  "seances"  over  matters  of  deco- 
ration and  life,  and  to  the  architects  and  decorators  whose 
work  is  illustrated  here — Messrs.  Chamberlin  Dodds,  Edward 
H.  Aschermann,  PieterMyer,  Edward  Clarence  Dean,  William 
Lawrence  Bottomley,  Mellor,  Meigs  &  Howe,  Myron  Hunt, 
Richard  A.  Fisher,  Alfred  Hopkins,  Cope  &  Stewardson, 
Lewis  P.  Hobart,  W.  J.  Sterner,  M.  B.  Schmidt,  C.  E. 
Schermerhorn,  Thomas,  Churchman  &  Mollitor,  Frank 
Chouteau  Brown,  and  Duhring,  Okie(&  Ziegler,  and  to 
Mrs.  Charles  H.  Sabin  and  Misses  Jessie  Willcox  Smith  and 
Violet  Oakley.  I  also  especially  thank  the  many  manu- 
facturers of  furniture  and  textiles  whose  names  appear  in 


I4  FOREWORD 

these  pages  for  their  universal  courtesy  and  helpfulness  in 
providing  me  with  photographs  and  particulars,  and  Messrs. 
William  Baumgarten  &  Co.,  Inc.,  Mr.  A.  L.  Diament,  Messrs. 
Marshall  Field  &  Co.,  and  B.  Altman  &  Co.  for  so  freely 
supplying  fabrics  for  reproduction,  the  Curtis  Companies 
and  the  Armstrong  Cork  Co.  for  illustrations  and  details  of 
their  productions,  Messrs.  Alfred  C.  Prime  and  Charles  O. 
Cornelius  for  information,  and  particularly  Mr.  Philip  B. 
Wallace  for  his  fine  photographic  work. 

EDWARD  STRATTON  HOLLOWAY 
PHILADELPHIA 
MARCH,  1922 


CONTENTS 

INTRODUCTION 

AIDS  TO  DECISION  UPON  METHOD  OF  FURNISHING 23 

The  Necessity  of  Plan.  Methods  of  Furnishing.  Physical 
Conditions  That  Indicate  Choice  of  Method.  Temperamental  and 
Social  Considerations.  A  Discussion  of  the  British  Point  of  View. 

PART  I     COLOUR  AND  FORM 

CHAPTER  I      COLOUR 37 

Colour  as  a  Reality.  Intensity.  Scale  in  Colour.  Value.  Har- 
monies of  Likeness  and  Contrast.  Colour-Equipment  and  Use. 
Colou  r-Schemes. 

CHAPTER  II    FORM 58 

Using  One's  Natural  Perception  of  Form.  Form  in  Selection  and 
Arrangement.  Arrangements  Suggested  by  Use.  Balance.  Move- 
ment. Scale.  Form  in  Furniture.  Design  in  Relation  to  the 
Selection  of  Textiles.  Texture. 

PART  II     MODERN,  NON-PERIOD  FURNISHING 

THE  ADVANTAGES  AND  CHARACTERISTICS  OF  THE  STYLE 89 

Present-day  Conditions.  Children.  Adapting  Furnishings  to  Life. 
Characteristics  and  Uses  of  the  Style. 

SECTION  I        THE  SIMPLEST  AND  MOST  INEXPENSIVE  FURNISHING 

CHAPTER  I       PRINCIPLES,  PROCEDURE  AND  MATERIALS  ..      97 
The  Point  of  View,  Walls  and  Ceilings.   Floors.    Simple  Furni- 
ture, American  and  British. 

CHAPTER  II     ACTUAL  FURNISHING  OF  THE  MOST  IN- 
EXPENSIVE  CHARACTER 119 

PARTICULARS  AND  MATERIALS  APPLICABLE  TO  ANY  SCALE  OF 
FURNISHING 136 

SECTION  II       MODERN  FURNISHING  OF  MEDIUM  COST 

CHAPTER  I   ACTUAL  FURNISHING  OF  MODERATE  EXPENSE   146 
CHAPTER  II     ADDITIONAL    FACILITIES  IN  THE    DEVELOP- 

MENT  OF  MODERN  FURNISHING  OF  MEDIUM  COST 158 

CHAPTER  III  MODERN  FURNISHING  OF  BROADER  SCOPE 
AND  SOMEWHAT  GREATER  EXPENSE 168 

SECTION  III    THE   HIGHEST   DEVELOPMENT    OF   MODERN 
FURNISHING 

CHAPTER  I  THE  WORK  OF  INTERIOR  ARCHITECTS  OR 
DECORATORS 180 

CHAPTER  II  DEVELOPMENT  OF  THE  MODERN  METHOD 
POSSIBLE  TO  THE  HOUSEHOLDER 189 

IS 


16  CONTENTS 

PART  III     LIBERAL  PERIOD  FURNISHING 

CHAPTER  I      INTRODUCTION 201 

The  Necessary  Point  of  View.  Oak  or  Mahogany?  Walnut 
and  Other  Woods.  Furniture  Purchasable  in  the  General  Market. 

CHAPTER  II     THE  FIRST  AND  SECOND  MOVEMENTS:  THE  RENAIS- 
SANCE AND  BAROQUE 214 

The  Practical  Use  of  Renaissance  Furnishing  To-day.  The 
Renaissance.  The  Baroque  Influence.  The  Spanish-American 
Style.  Accessories  of  Both  Movements.  Liberal  Period  Furnishing. 
Qualities  and  Adaptabilities  of  These  Styles. 

CHAPTER  III    THE  THIRD  MOVEMENT:    ROCOCO  DECORATION: 

TOGETHER  WITH  THE  DUTCH  INFLUENCE  IN  ENGLAND 234 

Rococo  Decoration.  The  Adaptability  of  This  Furnishing  to  Modern 
Uses.  The  Dutch  Influence  in  England.  Examples  of  Furnishing. 

CHAPTER  IV   THE  FOURTH  AND  FINAL  MOVEMENT:  THE  NEO- 
CLASSIC  INFLUENCE 244 

The  Cause  of  the  New  Movement.  Neo-Classic  Furnishing  in 
England,  France,  Italy,  and  America.  Liberal  Furnishing.  The 
Characteristics  and  Adaptability  of  the  Style. 

COLOUR-SCHEMES  ADAPTABLE  TO  VARIOUS  STYLES  OF  DECORATION  271 

PART  IV     SPECIAL  SUBJECTS 277 

Apartments  and  How  to  Live  in  Them.  The  Kitchen.  Floors. 
Mantels  and  Overmantels.  Arrangements.  Window-  and  Other 
Hangings.  Accessories  of  Various  Kinds.  Pictures.  Screens. 
Artificial  Lighting.  Fashion  and  Style. 

INDEX 291 


ILLUSTRATIONS 

Plate  Page 

1  A  Drawing-Room  in  Modern  Style  Designed  by  Shirley  B.  Wainwright,  London. 

(Colour  Plate) Frontispiece 

2  An  Inexpensive  Living-Room  in  Modern  Style  Designed  by  the  Author. 

(Colour  Plate)     24 

3  A  Novel  Dining-Room  in  Modern  Style  Designed  by  Edward  H.  Aschermann     26 

4  Liberal  Period  Furnishing  in  a  Remodelled  Farm  House.     Simple  Period  Fur- 

nishing in  a  Breakfast-Room 26 

5  A  Fine  Example  of  Neo-Classic  Liberal  Period  Furnishing 26 

6  A  Charmingly  Simple  Dining-Room „ 34 

7  A  French  Bedroom  in  Rose  and  Green  by  Chamberlin  Dodds 35 

8  A  Dining-Room  in  Modern  Style  by  Shirley  B-  Wainwright,  London. 

(Colour  Plate)     40 

9  An  Ideal  Formal  Hall  with  Spanish  and  Italian  Furniture 42 

10  A  Hall  with  Italian  Renaissance  Furniture 68 

A  Living-Room  in  English  Style 68 

11  A  Dining-Room  with  Pale  Green  Walls  in  an  Apartment 68 

Mantel  in  a  City  House 68 

12  A  Guest-Chamber  with  Modern  Furniture  of  Sheraton  Type 69 

13  Naturalistic  Ornament  in  Silk  with  Velvet  Design 69 

Combination  Motifs  in  Rose  Satin  with  Applique 69 

14  Straight-line  Living-Room  Furniture 106 

15  Straight-line  Bedroom  and  Dining-Room  Furniture 106 

16  Dining-table,  Dexter  Table  and  Chair,  Webster  Chairs 107 

17  Turned-leg  Furniture  and  Day-Beds 107 

18  Painted  Breakfast-Room  Suite 108 

Breakfast-Room  Suite  in  Walnut  and  Ivory  or  Decorated 108 

19  Gate-leg  Table  and  Desk,  Table  and  Buffet 108 

20  Dining-Chair,  Telephone-Stand  and  Chair 109 

21  Buffet,  Table,  and  Chairs,  Decorated  or  Mahogany  Finish 109 

22  Enamelled  and  Decorated  Bedroom  Furniture no 

23  Enamelled  and  Decorated  Bedroom  Furniture,  Continued in 

24  Four  Post  Beds 112 

25  Low  Post  Beds  and  Day-Beds 112 

26  Bureau  and  Chiffonier 113 

27  Dressing-Table,  Desk,  and  Bench 113 

28  Simple  Decorated  Furniture 114 

29  An  English  Cottage  Living-Room  in  Modern  Style  Designed  by  Hall  Thorpe, 

R.B.A.,  London (Colour  Plate)  116  ' 

30  Colour-prints  for  Framing,  Designed  by  Hall  Thorpe,  R.B.A 116 

31  Painted  Furniture  Designed  by  Percy  A.  Wells,  London 116 

32  Painted  Furniture  Designed  by  Percy  A.  Wells,  continued 1 16 

33  A  Cabinet  in  Ebony  Designed  by  P.  Waals,  Chalford,  England 118 

34  Mirror,  Cupboard,  and  Table  Designed  by  P.  Waals 119 

35  Arrangement  of  Thin  Curtains  with  Valance I  120 

36  Striped  Chintz , , 121 

-   2  17 


1 8  ILLUSTRATIONS 

Plate  Page 

37  Bungalow  Living-Room  and  Dining-Room,  Buff  Walls (Colour  Plate)  126 

3/A  French  Printed  Linens 136 

38  French  Printed  Linens 136 

39  French  Printed  Linens 137 

40  French  Printed  Linens 137 

41  Lamp-Shades  in  Batik  silk.    The  Aschermann  Studio 142 

42  An  English  Dining-Room  with  Simplified  Jacobean  Furniture 143 

43  Small  Furniture  and  Decorative  Accessories 144. 

44  Danersk  Block  Prints  and  Chintzes 145 

45  Dining-Room  or  Breakfast-Room  Suite,  Walnut,  Enamel,  or  Decorated 150 

46  French  Striped  Heavy  Cottons  in  Gay  Colourings 150 

47  French  Irridescent  Poplins  in  Soft  Colourings 150 

48  Decorated  Bedroom  Suite 152 

49  Children's  Room  of  a  House  at  Reading,  Pennsylvania 153 

50  Built-in  Features  in  a  Modern  English  Country  House 158 

51  Book-cases  and  Window-seat  Combination 160 

A  Tray-case  for  the  Bedroom 160 

52  China  Closet  of  Classic  Design 160 

China  Closet  of  Colonial  Design 160 

53  China  Closet  with  Arched  Tracery 161 

China  Closet  with  Gothic  Tracery : 161 

54  Dresser  Sideboard  of  Colonial  Design 161 

Dresser  Sideboard  of  English  Derivation 161 

55  Striped  and  Flowered  Block-printed  Linens 164 

Plain  Check  Cretonne,  Block-printed v 164 

Mohair  Velvet,  Quiet  Orange  with  Black  Stripe 164 

56  French  Chintz  in  Odd  Colouring 165 

French  Glazed  Chintz  in  Pink  and  Yellow 165 

57  Mahogany  Desk,  Library  Table,  and  Book-case 166 

58  Three  Bedroom  Suites  in  Old  Ivory 166 

59  Bedroom  Suites:*French  grey,  Natural  wood,  Child's  Suite 166 

59A  A  Small,  Inexpensive  Enclosed  Porch 166 

598  A  Breakfast-room  for  All-the- Year-Round  Use     167 

60  Colonial  Chairs.     Upholstered  Chaise-Longue  and  Chair 168 

61  "Tyrol"  Bedroom  Set 168 

"Spanish  Peasant"  Bedroom  Set 168 

62  "Carlton"  Bedroom  Set 168 

63  Chinese  Room  Designed  by  W.  J.  Palmer  Jones,  London (Colour  Plate)  178 

64  Dining-table  Designed  by  the  late  Ernest  W.  Gimson 180 

Sideboard  Designed  by  the  late  Ernest  W.  Gimson 180 

65  Wardrobe  Designed  by  the  late  Ernest  W.  Gimson 181 

66  Bedroom  Designed  by  Shirley  B.  Wainwright,  London (Colour  Plate)  182 

67  Bedroom  Furniture  by  the  Colourcraft  Co.,  London 184 

68  Lounge- Room  Designed  by  W.  J.  Palmer  Jones,  London 184 

Dining-Room  Designed  by  W.  J.  Palmer  Jones,  London 184 

69  A  Hall  Designed  by  W.  J.  Palmer  Jones,  London 185 


ILLUSTRATIONS  19 

Plate  Page 

70  Furniture  Designed  by  W.  J.  Palmer  Jones,  London 185 

71  A  Sitting-Room  Designed  by  W.  J.  Palmer  Jones,  London.  .  .  .(Colour  Plate)   185 

72  Wall  Decorations  by  George  Sheringham,  London 186 

73  Wall  Decorations  by  George  Sheringham,  London 186 

74  Wall  Decoration  by  George  Sheringham,  London 186 

75  Dining-Room  in  Pieter  Myer's  Own  Apartment,  New  York 186 

76  Chinese  Dressing-Table  Designed  by  Pieter  Myer,  New  York 187 

77  Dining-Room  by  The  Aschermann  Studio,  New  York (Colour  Plate)  188 

78  A  Studio  Living-Room  by  the  Aschermann  Studio,  New  York 188 

79  Opposite  End  of  Studio  Living-Room    188 

80  Side  Wall  of  Bachelor's  Living-Room  by  The  Aschermann  Studio 189 

Corner  of  Same  Room 189 

81  Standard  Lamp  in  Silver  and  Black  by  The  Aschermann  Studio 189 

Door  Treatment  by  The  Aschermann  Studio 189 

82  Settee,  Chairs,  and  Sideboard  for  Fine  Furnishing 190 

83  End-Table,  Chair,  and  Pedestal  for  Fine  Furnishing , 190 

84  English  Style  Thin-Arm  Davenport 191 

Furniture-Covering  of  Crimson  Red  Satin 191 

85  Golden  Yellow  Striped  Silk 191 

Ecru  Silk  with  Crimson  Stripe 191 

86  Dining-Room  in  Residence  of  C.  G.  Edgar 192 

"Pisa"  Decorated  Breakfast-Suite 192 

87  "Exeter"  Breakfast-Sw'te 192 

88  "The  Marbridge  Suite"  in  the  Sitting-Room  or  Boudoir 193 

89  "The  Marbridge  Suite"  in  the  Dining-  or  Breakfast- Room 193 

"The  Marbridge  Suite"  in  the  Bedroom 193 

90  Solarium  with  Bigarr£  Furniture 194 

91  "Bigarre""  Breakfast  Suite 194 

92  "Italian  Garden"  Suite 195 

93  A  Sun-Parlour  with  "Inset-Tile"  Linoleum  Floor 195 

94  "Brittany"  Bed-Chamber  Suite 196 

95  A  Bed-Chamber  in  Chinese  Taste  by  Chamberlin  Dodds    197 

96  A  Room  Consistent  with  Oak  Furniture 206 

97  A  Reception-Room  with  Mahogany  Furniture 207 

98  A  Sixteenth  Century  Italian  Interior  in  an  American  Home 214 

99  An  English  Renaissance  Hall. 214 

100  An  Overmantel  Arrangement  in  Italian  Style 215 

101  Florentine  Cinquecento  Table 215 

Italian  Sixteenth  Century  Stool 215 

102  Italian  Table  and  Chair 216 

103  "Giovanni"  Dining-Room  Suite,  Italian  Renaissance 216 

104  "Walpole"  Dining-Room  Suite,  Simple  Jacobean 217 

105  Italian  Table,  Cromwellian  Chair  and  Desk 217 

106  Jacobean  Dining-Room  Suite 218 

107  Late  Jacobean  Desk,  Drop-leaf  Table,  Farthingale  Chair 219 

108  Flemish  End-Table.     Italian  Arm  Chair 220 


20  ILLUSTRATIONS 

Plate  ,  Page 

109  Late  Jacobean  Console  and  Chairs.     Queen  Anne  Mirror 220 

no  Louis  Quatorze  Arm  Chair 221 

111  Hexagon  Table  and  Chair.     Hall  Suite 221 

112  William  and  Mary  Love  Seat.     Provence  Chair 222 

Queen  Anne  Wing-Chair , 222 

113  Late  Seventeenth  Century  Bedroom 223 

114  A  Living-Room  with  Stuart  and  William  and  Mary  Furniture 224 

115  Simple   Period   Furnishing 225 

116  Spanish  Renaissance  Furnishing  in  a  New  York  Apartment , . .   226 

1 17  "Span-Umbrian"   Living-Room  Furniture 227 

118  Liberal  Period  Renaissance  Furnishing  in  a  Country-House 230 

1 19  Liberal  Period  Furnishing — Baroque  and  Rococo 23 1 

1 20  Liberal  Period  Furnishing  in  the  Apartment  of  E.  C.  Dean 232 

121  Liberal  Period  Furnishing  in  the  Apartment  of  E.  C.  Dean 232 

122  Liberal  Period  Furnishing  in  the  Apartment  of  E.  C.  Dean 233 

123  Liberal  Period  Furnishing  in  the  Apartment  of  E.  C.  Dean 233 

124  Restrained  Rococo  Wall-Decoration 234 

125  Queen  Anne  and  other  Dutch  Derivation  Furniture 240 

126  A  Living-Room  in  Liberal  Period  Style 242 

127  Bedroom  with  Early  Eighteenth  Century  Furniture 243 

128  An  Adam  Room  with  Plaster  Walls 246 

The  Furnishing  of  a  Narrow  Apartment-Hall 246 

129  Panelled  Walls  with  Chippendale  and  Sheraton  Furniture 246 

130  A  Hall  with  Chinese  Chippendale  Furniture 247 

131  Chippendale,  Sheraton,  and  Hepplewhite  Chairs 247 

132  Hepplewhite  Arm  Chair.     Neo-Classic  Console-Table 250 

133  Neo-Classic  Console  and  Mirror 251 

134  A  Living-Room  with  Sheraton  and  American-Empire  Furniture 252 

135  A  Cleverly  Furnished  Dining-Room  in  a  Small  Apartment 253 

136  Louis  Seize  and  Louis  Quinze  Furniture 254 

137  Louis  XVI  Bedroom  Set 255 

138  A  Bedroom  in  Louis  XVI  Style  by  Chamberlin  Dodds 256 

139  A  Dining-Room  in  Louis  XVI  Style  by  Lewis  P.  Hobart 257 

140  A  Dining-Room  with  Eighteenth  Century  Italian  Furniture 258 

A  Dining-Room  in  Directoire  Style,  Chamberlin  Dodds 258 

141  "Andre""  Chairs  and  Settee.     Directoire  Table 258 

142  Directoire  Settee  and  Chairs 259 

143  A  Consistent  Directoire  Dining-Room  by  W.  J.  Sterner 259 

144  "Preston  Commode",  "Chatsworth"  Mirror,  "Padua"  Chairs 260 

145  "Padua"  Dresser,  of  Italian  Type 260 

146  "Italian  Empire"  Dining-Room  Suite 260 

147  Sheraton  Console  and  other  Colonial  Furniture 262 

148  Colonial  Highboys  in  Solid  Mahogany 262 

149  Colonial  and  American  Empire  Bedroom  Furniture 262 

150  Living-Room  in  the  Home  of  Mrs.  Charles  H.  Sabin , , , 266 


ILLUSTRATIONS  21 

Plate  Page 

151  Hall  in  the  House  of  Misses  Jessie  Willcox  Smith  and  Violet  Oakley 267 

152  Combination  Kitchen  Dresser  and  Work-Table 282 

153  "Inset-tile"  and  Jaspe"  Linoleums 283 

DIAGRAMS 

1  The  Six  Primary  and  Secondary  Colours 41 

2  Triads  of  Colour 50 

3  An  Arrangement  Suggested  by  Use 62 

4  Floor  Plan  of  Living-Room 65 

5  Movement  Illustrated 70 

6  Various  Bandings  for  Hangings 192 

7  The  Classic  Foundation-lines  of  a  Rococo  Chair 237 

Cover,  with  specially-designed  Furniture  and  Wall  Treatment, 
and  Title-page  by  the  author 


THE  PRACTICAL  BOOK  OF  FURNISHING 
THE   SMALL   HOUSE  AND  APARTMENT 

INTRODUCTION 

AIDS  TO  DECISION  UPON  METHOD  OF  FURNISHING 

THE  NECESSITY  OF  PLAN.  METHODS  OF  FURNISHING.  PHYSICAL  CON- 
DITIONS THAT  INDICATE  CHOICE  OF  METHOD.  TEMPERAMENTAL 
AND  SOCIAL  CONSIDERATIONS.  A  DISCUSSION  OF  THE  BRITISH 
POINT  OF  VIEW. 

THE  NECESSITY  OF  PLAN 

SUCCESSFUL  homes  are  not  produced  in  haphazard 
fashion,  and  those  that  are  not  satisfactory  are  usually 
so  because  of  the  lack  of  any  well-realised  idea  of  precisely 
the  sort  of  home  desired,  its  appropriateness  to  the  character- 
istics and  uses  of  the  occupants,  or  the  amount  of  money 
there  is  to  spend.  The  simple  abode  may  be  beautiful,  and 
may  indeed  have  more  charm  and  homelike  feeling  than 
many  which  are  more  ornate,  but  a  happy  result  in  either  case 
is  the  result  of  thought  and  plan. 

Too  often,  at  present,  furnishings  are  purchased  at  one 
time  simply  because  they  are  "liked"  and  without  regard  to 
the  scheme  as  a  whole,  and  on  subsequent  occasions  other 
objects  are  bought  with  the  same  lack  of  consideration:  is  it 
wonderful  that  the  incongruous  collection  is  soon  utterly 
dissatisfying  in  its  total  effect?  Such  buying  is  a  waste  of 
money  and  therefore  an  extravagance. 

Whether  the  home  is  to  be  newly  furnished  throughout, 
or  whether  improvement  is  gradually  to  be  brought  about 
in  already  existing  conditions,  it  is  evident  that  one  must 
definitely  know  what  he  is  about  before  a  beginning  is  made. 

Unless  he  expects  to  live  in  one  room  and  close  off  the 
rest,  it  must  be  remembered  that  it  is  the  house  or  apartment 
which  is  the  unit,  to  be  considered  as  a  single  item,  and  not 

23 


24  THE  SMALL  HOUSE  AND  APARTMENT 

each  room  by  itself.  If  that  unit  is  cut  up^with  obtrusive 
and  ill-assorted  wall-treatments  and  filled  with  a  mass  of 
restless  belongings  it  cannot  be  expected  that  the  home  will 
be  a  practical,  peaceful  or  harmonious  abode,  no  matter  how 
beautiful  each  object  in  itself  may  happen  to  be. 

The  necessity  of  a  definite  plan  is  therefore  obvious,  and 
it  is  a  pleasure  to  say  that  it  may  easily  be  arrived  at.  For, 
after  all,  household  furnishing  is  largely  a  matter  of  common- 
sense^  and  if  one  faithfully  uses  the  mother-wit  that  has  been 
given  him  together  with  the  information  available  he  will 
not  go  far  astray.  Let  us  therefore  look  at  tthe  problem  of 
furnishing  small  premises  in  this  simple,  common-sense  man- 
ner and  see  if  it  does  not  take  the  bewildered  householder  well 
along  on  his  way. 

The  first  step  is  to  determine  precisely  the  sort  of  fur- 
nishing desired,  or  possible.  There  are  three  modes  in  which 
the  home  of  moderate  dimensions  may  be  treated: 

METHODS  OF  FURNISHING 

/.  The  Modern  Style.  This  is  a  thoroughly  practical  and 
in  its  simpler  form  inexpensive  yet  satisfactory  mode,  suitable 
for  either  the  house  or  apartment,  and  where  well  managed 
results  in  a  home  of  charm  and  beauty  as  well  as  usefulness 
and  sterling  wearing  qualities.  It  is  a  very  adaptable 
style  that  may  be  made  fully  expressive  of  one's  tastes  and 
individuality;  and  it  is  also  exceedingly  "various",  so  that 
there  is  no  likelihood  of  premises  furnished  in  this  manner 
tiresomely  resembling  others  treated  in  the  same  style. 

The  furniture  employed  is  simple  in  character  but  of 
excellent  design,  and  the  textiles  used  are  inexpensive  but 
beautiful  in  colour  and  pattern.  Overcrowding  is  strictly 
avoided,  and,  the  ideal  being  simplicity  and  charm,  the  home 
is  easily  cared  for  and  drudgery  becomes  unnecessary.  Cer- 
tainly this  manner  of  furnishing  has  much  to  recommend  it. 


PLATE  2 


AIDS  TO  DECISION  25 

(See  Plate  2).  But  the  Modern  method  is  also  capable  of 
affording  homes  of  little  if  any  less  elegance  than  the  period 
styles,  and  this  phase  of  the  mode  has  likewise,  therefore, 
received  extensive  attention  and  will  be  found  more  fully 
developed  by  the  present  writer  then  has  hitherto  been  done. 

The  style  is  also  capable  of  supplying  much  novelty 
(Plate  3).  The  whole  system  is  fully  described  and  treated 
in  Part  II  of  this  book,  and  in  three  grades,  with  detailed 
directions  as  to  its  management,  and  illustrations  are  given 
of  the  work  of  those  who  have  made  a  specialty  of  designing 
interiors  and  furniture  in  this  style. 

II.  Liberal  Period  Furnishing  of  Modest  Elegance.  The 
word  "liberal"  as  here  applied  is  a  new  term.  Period  fur- 
nishing in  past  years  was  considered  as  being  a  close  repro- 
duction of  the  style  current  during  some  particular  epoch 
in  some  one  country.  As  the  walls  were  an  intrinsic  part  of, 
and  indeed  the  basis  for,  such  treatment,  and  as  they  were, 
with  some  exceptions,  panelled  or  made  ornamental  in  other 
expensive  manners,  it  is  plain  that  it  is  difficult  or  impossible  to 
carry  out  this  project  under  many  existing  modern  conditions. 
Furthermore,  the  decorative  influences  which  produced  a 
certain  style  were  not  confined  to  one  country  but  spread 
through  other  civilised  nations,  so  that  a  narrow  adherence 
to  the  mode  of  any  one  is  unnecessary  and  productive  of 
monotony.  "Liberal"  Period  furnishing  therefore  indicates 
a  broader  outlook  and  an  adaptation  of  this  method  to  the 
conditions  of  to-day,  not  forgetting  the  principles,  character- 
istics, spirit,  colour  and  design  of  the  particular  period  chosen 
as  best  suiting  our  tastes  and  desires  (Plate  5). 

In  all  past  ages  there  undoubtedly  were  homes  such  as 
we  are  now  considering — the  smaller  houses,  made  "beauti- 
ful within, "  but  in  a  far  less  expensive  and  less  ornate  style 
than  the  palaces,  chateaux,  villas,  and  "seats"  which  have 
been  preserved.  Such  homes  of  modest  elegance  may  be 


26  THE  SMALL  HOUSE  AND  APARTMENT 

realised  today,  and  the  best  methods  of  treatment  will  be 
given  and  illustrated  in  Part  III. 

///.  Ornate  Period  Furnishing.  Size  is  not  the  deter- 
mining factor  in  elegance.  There  are  those  of  cultivated 
tastes  and  means  abundant  to  gratify  them  who  may  prefer 
to  live  in  apartments  or  houses  of  modest  dimensions;  and 
with  the  difficulties  of  securing  adequate  service  these  are 
likely  to  increase  in  number.  There  is  no  logical  reason  why 
these  homes  should  not  be  in  accordance  with  the  wishes 
of  their  owners,  provided  that  overcrowding  with  artistic 
objects  is  avoided  and  the  furniture  chosen  is  proportionate  to 
the  size  of  the  premises.  Such  furnishing  will  also,  therefore, 
be  treated  in  the  present  volume,  as  in  many  cases  it  may 
be  successfully  carried  out  by  the  householder.  If  elaborate 
wall-treatments  are  decided  upon  then  the  services  of  an  able 
interior  decorator  are  required,  and,  in  order  to  familiarise 
himself  with  the  various  details,  and  so  be  capable  of  intelli- 
gent co-operation  with  the  decorator,  a  person  contemplating 
such  work  should  study  "The  Practical  Book  of  Interior 
Decoration,"  wherein  all  styles  of  decoration  are  fully 
treated.  Much  general  information  of  the  sort  is  neverthe- 
less given  here. 

PHYSICAL  CONDITIONS  THAT  INDICATE  CHOICE 
OF  METHOD 

As  there  are  three  methods  of  furnishing,  so  are  there 
also  three  physical  conditions  which  have  their  influence  in 
deciding  which  of  these  methods  to  employ. 

I.  The  Architecture  of  the  House.  A  bungalow  or 
small  cottage  imposes  its  own  conditions.  The  abode  is 
simple,  and  necessarily  it  must  be  simply  furnished — though 
it  will  be  shown  how  it  may  be  made  entirely  delightful. 
Only  the  cottage  type  of  furniture  is  appropriate  here — 
gate-leg  tables,  slat-back,  spindle-back,  ladder-back  and 


PLATE  3 


PLATE  4 


By  Courtesy  of  Mellor  A  Meigs,  Architects 

LIBERAL  PERIOD  FURNISHING  IN  A  REMODELLED   FARM   HOUSE  IN  PENNSYLVANIA 
Central  table,  Italian;   Gate-leg  table,  English;  Joint  stool,  Pennsylvania  German;  and  Chairs,  American 


SIMPLE  PERIOD   FURNISHING  IN   BREAKFAST-ROOM   OF  AN   OLD   FARM   HOUSE  AT 

LANGHORNE,   PENNSYLVANIA 
Remodelled  by  Duhring,  Okie  A  Ziegler 


PLATE  5 


AIDS  TO  DECISION  27 

Windsor  chairs,  dressers,  chests  and  the  like  with  simple 
furniture  of  modern  design.  The  Peasant  furniture  of  other 
nations  often  supplies  a  welcome  relief. 

In  a  house  of  Tudor  style  it  would  obviously  be  an  error 
to  employ  eighteenth  century  mahogany  or  satinwood  pieces. 

There  are,  however,  many  modern  houses  of  generally 
plain  or  picturesque  character  in  which  "Period"  is  not 
decidedly  marked,  and  a  liberal  interpretation  may  be  given: 
Such  premises  may  be  furnished  by  either  method. 

The  exterior  architecture  of  an  apartment  house  need 
not,  of  course,  affect  the  furnishing.  The  interior  is  seldom 
stylistically  defined  except  in  imposing,  expensive  houses, 
and  then  the  style  should  be  followed  in  the  decoration. 

Other  architectural  conditions  will  be  considered  in  the 
section  on  Period  Furnishing.  Sufficient  has  been  said  here 
to  show  their  bearing  upon  choice  of  style. 

II.  Whether  the  Premises  be  Owned  or  Rented.  It  is 
scarcely  necessary  to  dwell  upon  the  effect  of  these  differing 
conditions:  permanent  improvements,  such  as  alterations, 
built-in  features,  wainscotting,  and  panelling,  which  one 
might  make  in  his  own  house,  will  scarcely  be  considered 
under  uncertain  tenure  and  for  the  benefit  of  a  landlord. 
The  tenant  is  likewise  often  debarred  from  changing  the 
staining  of  floors  (a  rule  exists  against  this  in  many  apartment 
houses)  and  from  special  wall-treatments.  Even  such  paper- 
panelling  as  will  later  be  described  he  would  probably  have 
to  pay  for  under  present  conditions. 

///.  The  Sum  to  be  Expended.  "Money  talks"  in 
furnishing,  as  in  most  affairs  of  life,  but  taste  and  judgment 
do  much  to  defeat  its  tyranny,  and  a  delightful  home  may  be 
secured  without  a  plethoric  pocket-book. 

This  condition,  nevertheless,  may  have  a  deciding  in- 
fluence upon  the  mode  of  furnishing  to  be  adopted.  A  good 
mahogany  Chippendale  or  Hepplewhite  chair  at  present  often 


28  THE  SMALL  HOUSE  AND  APARTMENT 

costs  from  $50.00  to  $100.00  and  if  on.e  has  not  the  means 
properly  to  furnish  the  house  or  apartment  on  this  scale  it  is 
better  at  once  to  face  the  fact  and  choose  either  extremely 
simple  period  furnishing  or  the  Modern,  inexpensive  mode, 
as  these  will  give  pleasing,  individual  results  at  far  less  cost. 

In  cases  where  the  amount  of  expenditure  is  in  doubt, 
careful  consideration  of  the  respective  advantages  of  the  two 
systems,  as  presented  and  illustrated  in  Parts  II  and  III, 
should  be  given  before  a  decision  is  reached :  for,  in  furnish- 
ing the  home,  provision  is  made  not  for  a  few  years  only  but 
rather  for  many;  and  the  importance  of  an  abiding-place  in 
relation  to  our  lives  can  scarcely  be  over-estimated. 

Discounting  the  future  by  borrowing  funds  is  never  to 
be  recommended  and  is  often  fatal  to  happiness.  There  is 
another  course  possible  in  many  instances — the  gradual 
furnishing  of  the  premises.  Frequently  the  use  of  all  the 
rooms  is  not  necessary,  and  if  those  furnished  are  rendered 
charming  why  should  one  care  if  others  are  left  till  the  next 
year  or  that  following  for  completion?  If  then  the  future 
seems  secure,  so  far  as  can  be  judged  in  an  exceedingly 
uncertain  world,  this  method  may  often  be  adopted. 

Another  situation  frequently  exists.  In  the  "Practical 
Book  of  Interior  Decoration"  a  fourth  manner  of  fur- 
nishing was  noted — "The  Non-Committal  Method."  Of 
this  it  was  said:  "In  many  cases  families  possess  much 
modern  furniture,  including  wicker,  of  various  kinds  and  of 
no  particular  style,  and  there  is  no  alternative  to  using  it. 
While  it  is  not  an  advisable  method  of  furnishing  to  be 
deliberately  chosen,  when  it  already  exists  and  the  owners 
have  taste  the  results  may  be  very  charming  and  homelike. " 

It  is  then  intimated  that  it  is  possible  and  desirable  to 
develop  these  homes;  and  this  idea  will  now  be  given  greater 
force  and  direction. 

In  comparison  with  either  consistent  method  a  con- 


AIDS  TO  DECISION  29 

glomerate  home  can  never  be  fully  satisfactory,  and  it  is 
recommended  that  a  change  be  made,  either  at  once  or  by 
degrees,  as  circumstances  may  allow.  The  occupants  are 
happily  in  excellent  position  to  make  improvements,  for  the 
premises  are  already  fully  furnished  and  the  necessity  for 
quickly  supplying  and  arranging  household  goods  does  not 
exist.  Plans  may  be  matured  and  carried  out  more  or  less 
at  leisure,  and  the  result  will  be  all  the  better  because  of 
careful  thought. 

The  first  step  will  be  to  "take  stock"  of  existing  pieces, 
so  as  to  determine  how  many  may  remain,  and  whether  they 
are  of  Modern  or  Period  character.  If  there  are  a  number 
definitely  of  either  style  this  will  of  itself  indicate  which 
manner  of  furnishing  may  best  be  adopted  in  the  improve- 
ment of  the  premises.  Frequently  much  good  furniture  has 
been  inherited,  but  its  quality  is  obscured  by  indifferent 
pieces  secured  from  other  sources:  these  pieces  should  be 
weeded  out  and  their  place  supplied  by  others  that  will 
properly  accompany  those  remaining.  The  style  to  be  fol- 
lowed once  determined  upon,  background,  textiles  and  acces- 
sories should  be  brought  into  accord,  if  necessary  to  change 
them.  It  is  possible  here  also  to  make  such  improvements 
gradually — the  main  floor  of  a  house  or  the  principal  rooms 
of  an  apartment  may  first  be  treated  and  the  remainder 
subsequently  carried  out  in  the  manner  decided  upon. 

It  is  always  well  to  plan  fully  and  carefully  before 
beginning  operations,  and  to  be  sure  that  the  scheme  adopted 
will  prove  satisfying,  so  that  there  will  be  no  need  of  annoying 
and  expensive  changes.  As  the  work  proceeds  some  minor 
alterations  in  one's  projects  may  seem  desirable,  but  its 
main  features  should  be  such  that  they  may  be  adhered  to, 
or  inconsistencies  will  result. 

To  young  people  just  beginning  their  married  life  and 
furnishing  limited  quarters  two  courses  are  open.  They  may 


30  THE  SMALL  HOUSE  AND  APARTMENT 

buy  very  simply,  with  the  idea  of  subsequently  using  these 
purchases  in  the  unimportant  rooms  of  a  future  establish- 
ment; or,  if  they  have  studied  the  matter  and  have  a  clear 
view  of  what  their  home  of  later  years  is  to  be,  they  may  at 
once  buy  excellent  pieces  that  will  act  as  a  nucleus  for 
future  acquisitions.  The  latter  plan,  when  possible,  affords 
the  satisfaction  not  only  of  a  better  home  for  the  present,  but 
of  having  already  made  a  good  beginning  for  future  years. 

TEMPERAMENTAL  AND  SOCIAL  CONSIDERATIONS 

These  are  quite  as  important  as  those  just  reviewed. 

There  are  those  of  exceedingly  simple  and  plain  tastes  to 
whom  ornament  is  distasteful  and  even  seems  an  affectation. 
The  Modern  method  will  be  found  to  satisfy  their  require- 
ments far  better  than  the  non-committal,  miscellaneous 
furnishing  usually  found  in  the  houses  of  persons  with  these 
preferences.  To  others,  colour  and  novelty  are  the  spice  of 
life,  and  the  reader  may  be  surprised  to  learn  that  this  same 
adaptable  method  is  capable  of  supplying  all  of  either  that 
they  can  possibly  wish.  Those  to  whom  the  beautiful  things 
of  the  past  make  their  appeal  will  as  a  matter  of  course 
choose  period  furnishing,  and  this  mode  is  not  only  generally 
the  richer  while  possessing  the  greater  dignity,  but  it,  too,  is 
so  exceedingly  various  that  by  selecting  the  proper  epoch  any 
desired  result  may  be  gained,  from  the  simplicity  of  the 
American  Colonial  style  to  the  more  ornamental  effects  of 
other  periods. 

The  abode  should  always  be  appropriate  to  the  status  of 
its  occupants,  neither  falling  below  nor  exceeding  their  gen- 
eral position  in  life.  Disregarding  any  other  considerations, 
only  discomfort  and  dissatisfaction  would  result  from  a 
violation  of  suitability  to  personality. 

Of  late  years  the  financial  conditions  of  many  who  pre- 
viously were  deprived  of  educational  and  cultural  advan- 


AIDS  TO  DECISION  31 

tages  has  greatly  improved.  It  is  a  cause  for  rejoicing  that 
these  disabilities  are  removed,  and  it  is  hoped  that  full 
advantage  of  new  opportunities  will  be  taken.  Additional 
means  have  not  always  been  spent  wisely;  objects  and  fur- 
nishings have  been  introduced  into  homes,  clothes  have  been 
purchased,  which  are,  to  express  it  kindly,  at  least  inappro- 
priate. One  could  hardly  expect  otherwise  at  first,  but  many 
will  quickly  realise  that  an  advance  in  the  scale  of  living 
marked  by  an  increase  of  taste  will  win  additional  respect, 
while  tawdry  display  would  but  forfeit  it.  Every  possible 
encouragement  and  aid  is  due  them:  if  they  feel  it  too  dif- 
ficult to  undertake  planning  and  purchasing,  a  wise  step 
would  be  to  place  the  work  in  the  hands  of  an  able  decorator, 
one  employed  by  cultured  people,  telling  him  that  what  is 
desired  is  a  thoroughly  tasteful,  quiet  home.  If  a  new  house  is 
to  be  built,  an  architect  of  the  same  character  should  be 
arranged  with  and  similar  instructions  given. 

A  DISCUSSION  OF  THE  BRITISH  POINT  OF  VIEW 

The  recital  of  the  respective  advantages  of  Modern  and 
Liberal  Period  furnishing  would  not  be  complete  without 
taking  into  account  valuable  expressions  of  opinion  upon  the 
subject  in  notable  British  journals  in  their  reviews  of  "The 
Practical  Book  of  Interior  Decoration."  This  volume  was 
generally  received  in  the  most  kindly  spirit,  and  has  met 
with  an  excellent  demand  on  the  part  of  the  British  public  as 
well  as  in  the  Colonies  and  Japan.  A  record  of  the  British 
view  upon  these  manners  of  furnishing  and  some  further 
explanation  of  American  circumstances  and  customs  is  the 
more  desirable  as  an  aid  to  the  mutual  knowledge  of  condi- 
tions and  problems  and  a  co-operation  in  the  advancement  of 
household  art  referred  to  in  the  Foreword. 

The  Studio,  which  has  been  such  a  powerful  influence  for 
good  in  both  countries,  says:  "There  is  unquestionably  a 


32          THE  SMALL  HOUSE  AND  APARTMENT 

growing  sense  of  the  need  for  a  style  of  domestic  equipment 
which  responds  more  intimately  to  the  needs  of  the  time  than 
either  the  '  Period '  styles  or  styleless  styles  of  fifty  or  sixty 
years  ago. "  Earlier  in  this  review  it  had  noted  of  the  authors 
of  the  book:  "They  do  not,  it  is  true,  ignore  the  modern 
school,  and  have  included  a  few  illustrations  of  interiors  as 
representing  it,  but  of  the  really  important  work  of  the  past 
twenty  or  thirty  years  hardly  a  hint  is  given,  and  we  look  in 
vain  for  a  bare  mention  of  the  name  of  Ernest  Gimson, 
recently  deceased,  who  deserves  to  be  remembered  as  a 
great  furniture-designer." 

The  Manchester  Guardian,  writing  of  the  "vast  mass  of 
middle-class  folk  who  are  interested  in  the  decoration  of  their 
homes"  says  of  them:  "Indeed  such  people  have  a  great 
advantage  over  their  own  collecting  class  and  their  compeers 
in  England  in  that  they  are  not  to  the  same  extent  under  the 
tyranny  of  the  antique  and  can  consequently  approach  the 
furnishing  of  their  rooms  with  a  freer  mind.  The  result  is 
that  whilst  the  very  wealthy  in  America  are  struggling  to 
find  a  way  through  the  maze  of  their  own  purchases  the 
ordinary  plain  citizen  is  evolving  simple  schemes  of  decora- 
tion and  furnishings  suited  to  a  servantless  age  which  already 
leave  our  overloaded  English  rooms  far  behind. " 

The  review  in  The  Journal  of  Decorative  Art  begins: 
"To  nine  well-to-do  Americans  out  of  ten,  'Interior  Deco- 
ration' means  'Period  Decoration':  therefore,  when  an 
American  book  on  decoration  appears,  one  may  be  quite  sure 
that  the  periods  will  be  very  much  to  the  fore.  One  may  also 
hazard  a  guess  that  the  book  will  deal  very  thoroughly  with 
the  subject,  and  that  it  will  be  quite  perfectly  printed.  Its 

three  authors quite  evidently  know  their  public, 

their  job,  and  their  periods,  and  their  point  of  view  is  one 
that  is  strictly  orthodox  in  America.  But  mere  copyism  is 
not  in  their  creed.  Rather  do  they  regard  the  Periods  as 


AIDS  TO  DECISION  33 

sources  from  which  may  be  drawn  the  inspiration  and  the 
material  for  their  schemes,  and  to  which  they  may  turn  for 
the  standards  of  excellence  at  which  they  aim. " 

It  so  happens  that  on  the  same  page  appears  the  end  of 
a  humorous  article  in  which  the  writer  is  evidently  telling  of 
what  had  been  his  ideal  of  a  home.  It  is  much  too  good  to 
miss:  "well-planned  affair,  somewhat  on  bungalow  lines, 
with  a  white  gate  and  green  painted  exterior  woodwork,  and 
it  was  to  be  situated  in  permanent  sunshine,  a  goodish  way 
from  London,  but  near  a  main  line  station.  The  interior 
would  be  free  from  drawing-rooms,  and  would  have  an  enor- 
mous Chesterfield  in  front  of  a  big  fireplace.  The  garden 
would  contain  a  tennis  court,  and  something  rather  special 
in  hen-runs.  And  there  would  be  a  very  lively  wire-haired 
terrier."  Unhappily,  as  usual,  this  writer  appears  to  have 
been  "bilked"  in  his  desires  by  entirely  unsympathetic  con- 
tractors and  dealers. 

From  these  frankly  set  down  remarks,  favourable  and 
otherwise,  a  rather  wide  acquaintance  with  present  British 
tendencies  and  the  strength  and  great  ability  of  the  newer 
school  of  designers  of  interiors  and  furniture,  it  is  evident  to 
the  writer  (though  it  will  be  a  surprise  to  many  Americans) 
that  in  England,  the  home  of  a  long  series  of  very  beautiful 
Period  styles,  there  is  a  very  considerable  revolt  from  Period 
furnishing  in  favour  of  a  newer  and  simpler  manner  more  in 
accord  with  present-day  characteristics  and  manner  of  life. 
It  is  worthy  of  note,  too,  that  new  and  fresh  and  crisp  as  this 
decoration  is,  it  is  built  on  sound  decorative  principles,  and 
as  a  basis  to  all  its  wealth  of  colour,  most  of  it  provides  a 
strong  and  dignified  or  else  structurally  simple  architectural 
background.  It  also  strictly  avoids  overcrowding  and 
"fussiness." 

To  recur  to  "The  Practical  Book  of  Interior  Decoration" 
the  sections  on  the  Modern  movement  were  written  during 

3 


34  THE  SMALL  HOUSE  AND  APARTMENT 

the  last  year  of  the  war.  A  number  of  letters  to  British 
designers  went  unanswered:  they  doubtless  were  never 
received  or  during  those  devastating  times  could  be  given 
no  attention.  Decorative  matters  in  England  had  for  several 
years  remained  almost  in  abeyance,  and  the  authors  were 
fortunate  in  securing  as  much  material  as  they  did.  Further- 
more it  is  to  be  remembered  that  this  Modern  movement 
in  England  has  greatly  developed  since  the  war.  The 
discussion  in  the  "Book  of  Interior  Decoration,"  then,  was, 
perforce,  largely  concerned  with  American  conditions. 

The  present  volume  abundantly  redresses  this  and  pre- 
sents as  thorough-going  a  representation  as  possible  of  both 
interior  work  and  furniture,  the  writer  having  been  aided  by 
the  kindest  co-operation  on  the  part  of  a  number  of  British 
designers.  He  would  have  been  glad  to  include  the  work  of 
others  who  did  not  so  respond. 

A  short  review  of  American  conditions  will  be  of  interest 
to  readers  on  both  sides  of  the  Atlantic,  for  though  there  is 
a  parallel  movement  here  there  are  decided  differences. 

First  should  it  be  mentioned  especially  that  certain 
architects  of  great  ability  and  having  a  strong  sympathy  with 
the  desire  for  simpler  homes  have  not  taken  up  the  Modern 
method  but  are  working  out  this  ideal,  where  desired  by 
their  clients,  through  the  use  of  simple  period  elements. 
An  example  of  this  is  given  in  Plate  4  and  the  writer  calls 
particular  attention  to  this  mode  as  worthy  of  careful  con- 
sideration and  as  being  eminently  suited  to  the  tastes  of 
many.  He,  however,  also  feels  that  it  would  be  a  decided 
advantage  more  often  to  incorporate  with  this  procedure  a 
considerable  but  still  appropriate  colour-development,  giving 
it  even  greater  attractiveness  and  wider  applicability.  Such 
an  example  is  shown  in  Plate  150,  where  a  house,  by  no  means 
small,  however,  has  been  most  capably  furnished  by  its 
owner.  There  are  also  decorators  of  exceedingly  smart 


PLATE  6 


PLATE  7 


AIDS  TO  DECISION  35 

interiors  employing  colour-schemes  both  exquisite  and  indi- 
vidual who  accomplish  simple  results  by  the  use  of  com- 
paratively plain  (Plate  6)  or  handsome  (Plate  7)  elements 
when  desired. 

In  America  the  modern  movement  is  even  yet  not  at  all 
organised  or  very  greatly  to  the  fore.  There  are  but  a  few 
talented  men  and  women  working  in  this  direction  and  they 
are  doing  so  individually.  Furniture  manufacturers  as  yet 
employ  their  own  designers  without  a  connexion  with  inde- 
pendent originators  making  an  exhaustive  study  of  condi- 
tions and  the  best  furniture  to  meet  them.  Decorators  have 
not  in  great  numbers  taken  up  this  method,  probably  because 
commissions  for  comparatively  simple  furnishings  are  not 
sufficient  to  meet  the  heavy  expenses  of  doing  business  and 
of  living  which  have  been  prevalent  here. 

Modern  decoration  has  been  considerably  written  up  in 
household  journals,  but  here  its  exemplifications  need 
steadying.  We  should  remember  that,  unless  due  caution  is 
administered  with  the  advice  given,  it  is  likely  to  be  mis- 
understandingly  applied  and  exaggerated  at  the  hands  of  the 
inexperienced  householder  and  this  valuable  method  thus  be 
discredited  through  its  wrong  use.  The  spirit  of  simplicity 
and  level-headedness  which  is  the  very  basis  of  the  movement 
must  not  be  lost. 

Speaking  by  and  large,  decoration  in  America  is  Period 
decoration — but  in  its  best  manifestations  it  is  Liberal, 
International-Inter  period,  or  Catholic  decoration,  as  one 
may  choose  to  term  it.  If  one  has  the  means  he  may  buy  in 
New  York — and  to  a  more  restricted  degree  in  other  large 
cities — original  furniture,  English,  French,  Italian,  Spanish 
or  Portuguese  of  almost  any  epoch:  he  will  find  faithful 
reproductions  of  many  such  pieces  in  so-called  "decorators' 
furniture":  but  he  will  not  find  such  an  assortment  in  "com- 
mercial" period  furniture,  for  in  this  the  supply  of  styles 


36          THE  SMALL  HOUSE  AND  APARTMENT 

other  than  English  and  some  Italian  and  French  phases  is 
more  limited. 

America  is  an  extremely  cosmopolitan  nation  and  many 
of  its  people  are  widely  travelled,  so  that  International-Inter 
period  decoration  is  eminently  suited  to  its  needs  and  desires. 
The  mode  is  year  by  year  finding  its  way  into  many  of  the 
more  modest  homes,  especially  those  of  persons  of  intellec- 
tual and  artistic  attainments,  and  all  that  is  needed  for  its 
fuller  development  is  that  manufacturers  should  supply  a 
greater  assortment  of  the  requisite  furniture,  not  "adapted" 
but  faithfully  reproduced,  and  if  possible  at  more  moderate 
prices. 

With  the  world-wide  interests  of  Great  Britain  the 
International-Inter  period  mode  would  be  equally  applicable 
and  appropriate.  The  amount  of  French  furniture  in  English 
houses  of  the  better  class  must  be  very  great,  and  much  sym- 
pathetic appreciation  has  always  existed  between  England 
and  Italy.  The  employment  of  the  furniture  of  other 
nations  in  connexion  with  its  own  will  be  found  to  give 
broader  scope  and  still  greater  variety  to  British  interiors. 


PART  I 

COLOUR  AND  FORM 
COLOUR 


COLOUR  AS  A  REALITY 
INTENSITY 
SCALE  IN  COLOUR 
VALUE 

HARMONIES  OF  LIKENESS  AND  CONTRAST 
COLOUR-EQUIPMENT  AND  USE 
'    COLOUR-SCHEMES 

FORM 

USING  ONE'S  NATURAL  PERCEPTION 

FORM  IN  SELECTION  AND  ARRANGEMENT 

ARRANGEMENTS  SUGGESTED  BY  USE 

BALANCE 

MOVEMENT 

SCALE 

FORM  IN  FURNITURE 

DESIGN  IN  RELATION  TO  TEXTILES 

TEXTURE 


Beauty;  that's  colour  and  proportion. 

JOHN  DoNNB,".An  Anatomy  of  the  World" 


PART  I 
COLOUR  AND  FORM 

CHAPTER  I 
THE  PRACTICAL  USE  OF  COLOUR 

COLOUR  AS  A  REALITY.  INTENSITY.  SCALE.  VALUE.  HARMONIES  OF 
LIKENESS  AND  CONTRAST.  COLOUR-EQUIPMENT  AND  USE.  COL- 
OUR-SCHEMES. 

COLOUR  AS  A  REALITY 

AS  all  objects  possess  colour  it  is  not  possible  to  proceed 
2~\.  with  the  purchase  or  use  of  furnishings  or  to  plan  the 
interior  desired  without  first  giving  consideration  to  this 
quality. 

On  the  one  hand  colour  is  not,  for  practical  uses,  nearly 
so  abstruse  and  difficult  a  subject  as  many  imagine,  and,  on 
the  other,  the  general  "good  taste"  which  most  persons  feel 
they  possess  is  not  of  itself  and  without  knowledge  of  the 
qualities  of  colour  sufficient  for  its  effective  management. 

It  will  here  be  treated  in  its  direct  relation  to  the  problem 
of  furnishing  the  small  house  or  apartment,  and  that  treatment 
will  be  made  useful,  full  and  simple. 

The  qualities  of  colour  are  not  fanciful;  they  are  real, 
and  may  be  dealt  with  accurately.  Just  as  inevitably  as  in 
mathematics  two  and  two  make  four,  just  so  surely  does  the 
admixture  of  yellow  and  blue  create  green.  Just  as  cer- 
tainly as  day  means  light  and  night  darkness,  so  certainly 
does  yellow  increase  the  appearance  of  light  in  a  room  and 
does  deep  violet  lessen  it. 

In  the  right  use  of  colour  both  harmony  and  relief 
should  together  find  their  place.  Harmony  gives  us  restful- 
ness  and  repose,  but  if  carried  throughout  an  abode  we  feel 
a  lack  of  stimulus  and  interest.  That  interest  is  supplied  by 
contrast,  but  if  this  be  carried  to  excess  it  results  in  disturb- 

39 


40  THE  SMALL  HOUSE  AND  APARTMENT 

ance.  Both  should  therefore  exist  in  proper  measure,  and 
that  measure  depends  somewhat  upon  the  temperaments  of 
the  occupants:  as  has  been  said,  some  are  very  quiet  and 
others  more  colourful  in  their  tastes. 

To  secure  this  peacefulness  with  interest  in  our  homes 
we  need  to  know  the  qualities  of  colour. 

We  are  all  accustomed  to  speak  of  quiet  colours  and 
those  that  are  brighter,  of  things  which  are  light  and  those 
which  are  dark,  and  of  colours  which  "go  together"  and 
those  that  do  not.  Let  us  look  into  these  three  matters  in 

their  order. 

INTENSITY  IN  COLOUR 

The  bright  colours  are  those  in  their  purity — what  is 
called  their  normal  hue — and  these  are  the  "primaries," 
normal  yellow,  red  and  blue,  and  the  "secondaries,"  orange 
(yellow  and  red)  green  (yellow  and  blue)  and  violet  (blue 
and  red) .  Now,  of  these  six  "  bright "  colours,  yellow,  orange, 
and  red  are  brighter  and  stand  out  more  forcibly  than  the 
others,  and  hence  they  are  termed  advancing  colours.  They 
are  also  warmer  in  tone  than  the  other  three.  Of  the  latter, 
blue  and  green  are  retiring  and  cool,  while  violet  is  neutral. 

But,  while  some  of  these  are  stronger  than  others,  all 
have  their  brightness  in  these  normal  hues  and  consequently 
when  they  are  employed  in  furnishing  they  are  commonly 
used  in  small  quantities. 

The  colours  of  lesser  intensity  are  composed  by  the 
admixture  of  other  colours,  or  black  or  white,  or  some  of  each, 
with  these.  For  convenience,  these  colours  of  lesser  inten- 
sity will  throughout  be  referred  to  as  Tones,  (degrees  of 
intensity  are  technically  called  chroma).  We  all  recognise 
these  modified  hues  under  the  names  of  rose,  buff,  grey-blue, 
apple-green,  olive-green,  slate,  citron,  and  the  like,  and  they 
are  generally  found  more  agreeable  as  constant  companions 
in  our  dwellings  than  the  pure  colours. 


PLATE  8 


THE  PRACTICAL  USE  OF  COLOUR  41 

Still  lighter  and  quieter  are  the  Tints,  composed  largely 
of  white  with  but  a  small  admixture  of  colour  and  often  some 
black  (black  and  white,  properly  speaking,  are  not  colours). 
These  are  the  greys,  fawns,  creams,  etc.  Where  clear  in  tone 
they  are  very  beautiful,  and,  owing  to  their  quietness,  are 
suitable  for  use  in  large  quantity. 

Shades  are  hues  darker  than  normal — i.e.,  they  contain 
some  blackness. 


Diagram  i. — The  Six  Primary  and  Secondary  Colours 
Complementaries  shown  by  following  the  dotted  lines 

We  have  already  arrived  at  the  means  of  securing  one 
sort  of  harmony  and  contrast — that  afforded  by  the  quality 
of  intensity  in  colour.  It  is  plain  that  if  in  a  room  we  use 
tones  which  do  not  greatly  differ  in  their  strength  we  shall 
have  harmony  in  this  respect,  and  that  if  we  then  add  in 
smaller  quantity  one  or  more  brighter  and  stronger  hues  we 
shall  have  gained  relief  in  addition  to  that  harmony. 

We  can  see  the  practical  working  of  this  by  taking  as  an 
example  one  of  the  most  manageable  methods  of  furnishing. 
The  largest  surfaces  are  walls,  ceilings  and  floors.  The  walls 
might  be  in  a  tint  of  warm  grey,  the  ceiling  a  little  lighter, 


42  THE  SMALL  HOUSE  AND  APARTMENT 

and  the  rug  of  darker  grey  or  taupe,  or  we  might  employ 
cream  for  the  former  and  lay  down  a  rug  of  tan :  either  would 
be  excellent,  but  so  far  there  would  be  little  interest.  This 
must  be  given  by  the  use  of  stronger  colour  and  it  would  be 
introduced  in  the  textiles  and  other  furnishings. 

"SCALE"  IN  COLOUR 

A  principle  is  often  made  clear  by  its  violation.  Suppose 
a  room  entirely  furnished  in  soft  colouring,  with  light  tinted 
walls  and  delicate  tones  in  the  rugs  and  covering  of  the  furni- 
ture: into  this  room  of  great  (and  perhaps  anaemic)  refine- 
ment bring  a  vase  or  cushion  of  the  rankest  red.  The  result 
need  not  be  described — anyone  can  see  that  this  added  object 
is  utterly  inappropriate  and  that  taste  has  been  violated. 

Scale  in  colour  is  a  proper  degree  of  correspondence  in  the 
intensity  of  the  various  colours  used.  As  we  have  seen,  some 
may  be,  and  should  be,  stronger  than  others,  but  these 
should  not  be  so  much  stronger  as  to  "  clash. "  If  on  entering 
a  room  any  object  "jumps"  at  one  we  may  be  sure  it  is  "out 
of  scale. " 

The  general  effect  of  the  furnishings  of  a  room  may  be 
very  soft  in  colouring  by  reason  of  the  weakness  of  the  tones 
used,  or  harmonious  with  greater  character  because  a  stronger 
degree  of  colour  is  employed,  or  it  may  be  decidedly  lively 
because  of  the  amount  of  bright  colour  introduced  into  it. 
In  any  case  the  degree  employed  is  the  "key"  of  the  room. 

VALUE 

This  is  so  intimately  connected  with  scale  that  it  is  well 
to  mention  it  here.  Value  is  the  degree  of  lightness  or  darkness 
in  a  coloured  object  irrespective  of  its  hue.  Entirely  for- 
getting colour  for  the  moment  we  shall  realise  that  if  we 
place  together  two  pieces  of  drapery,  the  one  yellow  and  the 
other  violet,  the  first  is  light  and  the  second  dark. 


PLATE  9 


THE  PRACTICAL  USE  OF  COLOUR  43 

Here  also  we  may  have  harmony  and  relief.  As  colour- 
scale  is  a  proper  correspondence  in  intensity  of  the  colours 
used,  so  right  value  is  a  proper  correspondence  in  their  de- 
grees of  lightness  and  darkness.  Harmony  is  likewise  given 
by  a  considerable  uniformity  in  this  respect,  and  relief  by 
the  use  of  some  objects  either  lighter  or  darker  than  the  gen- 
eral effect  but,  again,  not  so  different  as  to  startle  and  offend. 

Such  a  room  as  the  one  mentioned,  in  which  tints  and 
delicate  colour  are  used,  is  light.  If  tones  of  moderate 
strength  are  employed,  the  general  effect  is  of  medium  value; 
while  if  the  shades  are  chosen  (colours  deeper  than  normal) 
the  value  is  dark. 

As  we  shall  see,  various  degrees  of  intensity  and  of  value 
were  used  during  the  different  epochs  and  were  character- 
istic of  the  period  styles:  both  qualities  are  of  the  utmost 
importance  in  furnishing  to-day.  Such  light,  bright  colours 
as  baby-pink  and  baby-blue  are  fit  only  for  the  nursery. 
The  young  girl's  room  should  be  maidenly  but  not  weak. 
Extremely  refined  and  attenuated  colour  is  often  chosen  by 
those  whose  culture  has  lost  power  and  strength:  greater 
frankness  of  tone  in  environment  might  aid  them  in  regain- 
ing these.  Men  of  "settled"  character  are  apt  to  choose 
furnishings  dark  and  sombre:  more  geniality  in  their  sur- 
roundings might  not  be  amiss  in  effect. 

As  the  happiest  atmosphere  for  the  abode  of  limited 
dimensions  is  that  of  charm  and  cheerfulness,  a  good  degree  of 
lightness  and  a  considerable  amount  of  colour  will  be  found 
most  generally  appropriate  and  agreeable. 

We  must  sensibly  realise  that  in  a  world  of  people  of 
such  varying  types  and  desires,  we  shall  naturally  find  a  con- 
siderable variation  not  only  in  the  general  amount  of  colour 
preferred  but  also  in  the  likings  of  different  persons  for 
certain  hues.  Much  of  this  is  due  to  the  lack  of  use  of  this 


44  THE  SMALL  HOUSE  AND  APARTMENT 

particular  sense  and  a  want  of  education  in  this  respect. 
Where  a  sense  is  not  cultivated  we  cannot  expect  to  find  much 
appreciation  of  it  or  much  discrimination  in  its  use.  Outside 
of  actual  colour-blindness  there  are  probably  many  who  are 
physically  or  otherwise  deficient  in  the  realm  of  colour — as 
there  are  others  who  have  little  facility  in  the  fields  of  music, 
mathematics  or  languages.  Among  those  possessing  an 
educated  colour-sense  there  is  substantial  agreement;  so 
those  who  say  they  are  "very  plain  in  their  tastes"  are  per- 
fectly free  to  exercise  that  preference  in  their  own  menage 
or  their  dress,  but  should  be  exceedingly  cautious  how  they 
criticise  others  as  "artificial"  or  "foolish"  when  these  simply 
have  a  greater  love  for  and  appreciation  of  beauty.  The 
difference  may  possibly  lie  in  their  own  deficiency. 

A  certain  degree  of  variation  because  of  different  tem- 
peraments and  manners  of  life  is  perfectly  reasonable.  We 
should  expect,  for  instance,  the  apartment  of  a  popular 
actress  to  be  furnished  with  a  very  considerable  degree  of 
novelty  and  a  liberal  use  of  colour.  All  that  we  may  ask  is 
that  taste  should  be  employed  in  the  use  of  both — it  may  be, 
and  we  should  find  that  it  usually  is.  One  would  hardly 
choose  for  his  own  young  daughter  an  environment  of  the 
same  description;  and  this  perfectly  illustrates  the  degrees 
which  are  appropriate  and  desirable. 

Preferences  regarding  the  use  of  certain  colours  should 
be  viewed  in  the  same  way:  even  among  the  cultivated  we 
find  some  differences,  and  as  these  are  apparently  intrinsic 
they  should  be  allowed  for.  If  a  certain  person  of  excellent 
general  taste  has  no  particular  liking  for  the  various  shades 
of  blue,  for  instance,  there  is  no  compulsion  to  the  large  use  of 
those  hues  in  his  home  when  others  will  answer  quite  as  well. 

While  we  should  be  careful  therefore  how  we  "pontifi- 
cate" in  minor  details,  we  should  realise  that  colour  is  a 
quality  to  be  scientifically  employed. 


45 

HARMONIES  OF  LIKENESS  AND  CONTRAST  IN  COLOUR  ' 

What  is  harmony?  We  frequently  hear  those  speaking 
of  friends  say:  "They  are  so  congenial  because  they  have 
so  much  in  common,"  or  else:  "Although  they  are  so  dif- 
ferent they  get  along  well  together — one  seems  to  supply 
what  the  other  lacks. " 

Well,  in  colour,  then,  we  have  the  same  two  kinds  of 
harmony — that  of  likeness  and  that  of  contrast.  As  this 
book  is  intended  to  be  an  actual  guide,  the  treatment  of  these 
will  be  made  much  fuller  and  more  practical  than  usual. 

The  three  primary  colours  * — yellow,  red  and  blue — 
possess  qualities  which  seem  to  have  escaped  the  observa- 
tion of  former  writers  until  indicated  by  the  present  one  in 
"The  Practical  Book  of  Interior  Decoration."  Yellow  is  an 
especially  "harmonising"  colour.  If  chrysanthemums  of 
various  growths  ranging  all  the  way  from  a  slightly  greenish 
tone  of  yellow  to  an  orange-yellow  be  placed  together  in  a 
vase  no  great  discord  will  be  felt.  Certain  varying  hues  of 
red  go  well  together,  but  the  range  is  not  nearly  so  extensive 
as  it  is  with  yellow;  while  blue  is  a  particularly  sensitive 
colour.  We  shall  not  be  long  in  discovering  the  practical 
value  of  this  observation. 

HARMONIES  OF  LIKENESS 

In  the  congeniality  of  friends  we  found  first  the  harmony 
of  those  who  naturally  differ  from  each  other  but  where 
that  difference  is  united  by  some  quality  in  common.  So  also 
we  find  tones  and  tints  unified  by  a  common  component. 
Let  us  begin  with  yellow. 

If  we  modify  yellow  by  adding  white,  black,  or  red,  or 
all  of  them,  in  different  degrees,  we  secure  the  creams,  yellow- 

*As  we  are  dealing  with  material  dyes  and  pigments  it  is  useless  to  consider  here 
the  Helmholtz  theory,  which  has  to  do  with  light  only. 


46  THE  SMALL  HOUSE  AND  APARTMENT 

greys,  orange-greys,  buffs,  tans,  apricot,  yellow-orange, 
orange,  and  browns.  The  furnisher  of  the  home  using  almost 
any  of  these  together  will  find  that  the  tones  selected  will 
harmonise. 

Now  let  us  modify  yellow  with  the  remaining  primary 
colour,  blue,  and  white  or  black.  We  then  have  yellow- 
white  and  greenish  whites,  greys  varying  from  yellowish  to 
greenish,  and  tones  of  green  such  as  apple-green  and  the 
olives.  All  the  hues  of  bright  green  are  composed  of  yellow 
and  blue  without  other  admixture. 

We  found  that  orange  agreed  well  with  all  the  quieter 
modifications  of  yellow,  although  orange  is  not  only  a  com- 
bination of  the  full  strength  of  yellow  and  red  but  is  also  one 
of  the  most  advancing  hues  in  the  whole  gamut  of  colour. 
But  we  do  not  find  that  the  strongest  combination  of  yellow 
with  blue,  brilliant  green,  will  properly  accompany  such  a 
modification  as  olive.  Why  is  this?  Evidently  not  because 
of  difference  in  intensity,  for  that  does  not  affect  orange  in  its 
relations  to  quieter  tones  and  tints,  but  because  of  the  sensi- 
tiveness of  the  blue  which  enters  into  the  combination. 
Yellow  and  red  are  warm  colours  and  blue  is  cool.  Yellow  is 
a  strong  harmoniser,  .red  is  less  so,  and  blue  is  defective  in 
this  respect.  What  result  do  we  get  from  these  qualities? 
Practically  all  of  the  greens  and  green  tones  in  this  group 
agree  with  the  yellow  tones  in  the  group  above  because  of  the 
strong  presence  of  yellow  in  both,  but  when  red  enters  largely 
into  the  modifications  in  the  first  list  we  find  it  to  have  an  alien- 
ating quality  against  those  tones  in  the  second  list  that  are 
cold — warm  tans  and  browns  do  not,  for  example,  well  ac- 
company cold  greenish  greys  in  which  there  is  little  yellow. 
Orange  and  green  agree. 

Red  is  next  in  order:  and  it  cannot  too  often  be  insisted 
upon  that  normal  red  is  not  the  vermilion  hue  but  is  quite 


THE  PRACTICAL  USE  OF  COLOUR  47 

crimson  in  tone.  When  normal  red  is  modified  with  white 
and  a  little  black  we  secure  the  various  beautiful  shades  of 
rose.  If  a  little  yellow  is  added  we  get  yellowish  rose.  If  yellow 
is  combined  with  red  we  have  all  the  brilliant  shades  of 
orange-red  to,  again,  orange,  because  that  is  a  mixture  of  equal 
strengths  of  normal  red  and  normal  yellow.  White  and  black 
added  to  the  above  combinations  result  in  the  quieter  tones 
and  tints  of  these — such  as  old  rose,  ashes  of  rose,  salmon, 
red-brown,  terra-cotta,  brick  red  and  the  series  of  pinkish  to 
orange  greys. 

It  has  been  said  that  red  is  not  a  particularly  effective 
harmoniser,  and  we  shall  quickly  be  able  to  verify  this  by 
placing  brick  red  and  rose  together.  All  the  tones  of  rose 
(normal  red  modified  by  black  and  white)  accompany  each 
other  well  and  all  the  tones  of  red  modified  by  yellow,  white 
and  black  similarly  harmonise,  but  members  of  the  two 
groups  do  not.  Where  they  rather  closely  approach  each 
other  they  may  be  used  in  different  parts  of  the  same  room, 
because  at  a  distance  the  difference  would  not  be  so  great  as 
to  be  noticed.  Here,  too,  we  arrive  at  the  principle  that 
neutral  tones  have  a  harmonising  effect.  Hues  which  might 
not  particularly  well  accompany  each  other  in  immediate 
contact  will  often  not  clash  if  separated  by  an  expanse  of 
white,  black,  grey  or  fawn.  This  principle  was  not  intro- 
duced till  the  need  for  it  occurred,  but  it  is  very  valuable  in 
household  furnishing. 

To  recur  to  the  disagreement  of  certain  reds  we  shall  see 
that  this  is  of  practical  moment  in  the  selection  of  textiles  to 
be  used  in  rooms  containing  brick  fireplaces  or  red  tiles.  We 
evidently  should  not  accompany  these  by  the  crimson  or  rose 
reds,  but  by  those  of  brickish  tone  that  contain  some  yellow. 

In  certain  of  these  combinations  of  red  with  yellow, 
white,  and  black  there  is  a  "muddiness",  and  the  ugly  shades 
of  red  will  be  found  in  this  class.  They  should  naturally  be 


48  THE  SMALL  HOUSE  AND  APARTMENT 

avoided.    Terra-cotta  is  in  itself  not  an  entrancing  colour  and 
not  a  particularly  easy  one  to  harmonise  with  other  hues. 

The  second  possible  modification  of  red  is  by  the  use  of 
blue,  white,  and  black — any  or  all  of  these.  This  results  in 
normal  violet  and  the  dusky  and  red  violets,  the  mauves  and 
the  plums,  all  the  violet-greys  and  violet-whites.  There  is 
not  much  disagreement  between  any  of  these,  but  when  we 
attempt  to  use  them  in  immediate  proximity  to  the  reds 
modified  by  yellow  we  shall  have  to  go  cautiously.  The  rose- 
reds  go  well  with  the  violets  because  of  the  common  presence 
of  red.  When  a  little  yellow,  white  and  black  enters  into  the 
composition,  the  resulting  brick  red  clashes  with  the  violets 
—mauve  and  brick  red  are  distressing.  Where  much  yellow 
is  used  with  the  red  we  have  orange  and  its  tones,  and  these 
agree  with  the  violets  by  opposition  and  will  be  treated  in 
the  next  section. 

When  blue  is  modified  by  yellow,  white,  and  black  we 
get  all  the  tones  and  tints  of  greenish  blue.  The  great  sensi- 
tiveness of  blue  was  noted,  and  one  has  only  to  try  different 
tones  together  to  realise  it.  Normal  blue  does  not  agree 
either  with  greenish  blue  or  reddish  blue,  and  these  last  two 
violently  clash  while  they  still  retain  a  large  proportion  of 
blue.  As  they  reach  the  outside  limits  of  the  scale  they  become 
green  and  violet  and  agree  by  opposition.  About  the  only 
shades  of  real  blue  which  agree  together  are  the  lighter  and 
darker  tones  of  the  same  hue. 

The  Tertiary  colours — citron,  slate,  and  russet,  which  con- 
tain certain  portions  of  all  three  primary  colours — harmonise 
by  likeness  or  contrast  according  to  their  main  component. 
Citron,  for  example,  is  a  tone  of  tan  and  contains  more  yel- 
low than  it  does  red  or  blue:  consequently  it  possesses  the 
same  harmonising  qualities  as  the  other  yellow  derivations. 


THE  PRACTICAL  USE  OF  COLOUR  49 

HARMONIES  OF  CONTRAST 

To  each  colour  there  is  another  opposing  it  and  which 
with  it  affords  a  harmony  by  contrast:  these  are  therefore 
termed  Complementary  Colours.  Arranging  the  hues  in  their 
sequence  (see  Diagram  i)  we  shall  at  once  see  the  comple- 
mentary of  each  by  following  the  dotted  line  across  the 
diagram.  It  will  be  noted  that  each  of  these  contains  none 
of  the  other:  for  example,  red  is  the  complementary  of  green; 
green  is  composed  of  yellow  and  blue  and  contains  no  red. 

But — we  frequently  find  such  colour-schemes  advised  as 
yellow  and  blue.  This  is  a  very  attractive  combination  and 
is  opposing  because  neither  colour  contains  any  of  the  other. 
They  are  not,  however,  complementary:  the  complement  of 
blue  is  orange,  which  is  composed  of  yellow  with  red,  and  the 
red  is  here  lacking.  One  would  think  this  a  sufficiently 
strong  hint,  yet  one  writer  on  decoration  will  intimate  that 
there  should  be  some  blue  in  every  room,  and  another  will 
mention  the  enlivening  effect  of  red  or  the  sunny  quality  of 
yellow  without  arriving  at  what  needs  to  be  said.  This  is 
that  for  the  eye  to  be  fully  satisfied  some  quantity  of  all  the 
primary  colours  must  be  present. 

No  matter  how  beautiful  a  room  furnished  in  yellow  and 
blue  may  be  it  will  never  be  so  entirely  pleasing  as  if  a  few 
touches  of  red  were  introduced  into  it.  This,  naturally,  does 
not  mean  that  we  should  fill  every  room  with  raw  yellow, 
blue,  and  red:  the  tones  of  yellow  and  blue  likely  to  be 
employed  in  the  original  scheme  would  likely  be  buff  or  old 
gold  with  a  blue  somewhat  greyed:  hence  they  should  be 
accompanied  or  supplemented  by  a  modified  red,  such  as 
rose,  yellowish  rose,  or  dull  red. 

Let  us  therefore  term  such  hues  Supplementary  Colours. 

The  writer  will  arrange  the  colours  in  sequence  in 
another  diagram  (No.  2). 

Imagine  this  to  be  a  watch  face,  with  three  hands,  point- 

4 


5o  THE  SMALL  HOUSE  AND  APARTMENT 

ing  to  yellow,  red  and  blue — the  first  supplementary  har- 
mony. Now  if  we  moved  each  hand  forward  one  space  they 
would  be  in  the  position  occupied  by  the  lines  composed  of 
long  dashes  and  would  point  to  yellow-green,  blue-violet, 
and  red-orange.  Another  move  (to  the  dotted  lines)  gives 
us  green,  violet  and  orange,  and  still  another  (to  the  lines 
of  dot  and  dash)  shows  blue-green,  red-violet  and  yellow- 


Viol.1- 
Diagram  2. — Triads  of  Colour 


orange.  If  we  employ  two  hues  of  any  set  we  should,  in  order 
to  secure  the  fullest  and  most  satisfying  use  of  colour,  sup- 
plement these  by  small  portions  of  the  third.  As  before,  this 
extends  to  the  tones  of  these  hues  as  well  as  to  the  strong 
colours  themselves. 

We  shall  notice  that  wnere  we  employ  the  comple- 
mentary of  mixed  hues,  such  as  orange,  violet  and  green,  we 
are  in  effect  using  supplementaries  also.  If  we  place  in  the 
same  room  yellow  and  violet  we  are  really  employing  yellow, 
red,  and  blue  because  the  violet  is  composed  of  the  latter  two. 

Two  out  of  any  three  supplementary  colours  go  well  to- 
gether, but  the  lack  of  the  third  will  be  felt.  We  have  seen 
this  to  be  the  case  with  yellow  and  blue,  and  it  will  be  equally 


THE  PRACTICAL  USE  OF  COLOUR      51 

plain  with  any  other  triad.  Let  us  try  yellow-green  and 
blue- violet:  both  of  these  contain  blue,  the  first  contains  a 
quantity  of  yellow  and  the  second  a  small  portion  of  red.  To 
complete  these  a  little  more  yellow  is  needed  and  a  good  deal 
of  red :  combine  these  two  needs  and  we  have  the  colour  red- 
orange  as  supplementary  to  yellow-green  and  blue-violet. 

COLOUR-EQUIPMENT  AND  USE 

Reviewing  the  preceding  sections,  what  do  we  find  our 
equipment  of  colour  for  practical  household  use  to  be? 

First,  there  are  the  normal  hues  of  bright  colour — best 
employed  but  in  small  quantity,  and  with  much  judgment, 
for  accent  and  the  giving  of  special  interest.  We  shall  see, 
later,  that  these  are  best  introduced  in  the  accessories  of 
furnishing. 

Then  we  have  the  tones.  Good,  clear,  soft  tones  of  all 
the  six  primary  and  secondary  colours  agree  easily  because 
of  the  harmonising  quality  of  the  white  which  has  modified 
them.  Into  some  a  small  proportion  of  black  or  colour  may 
enter,  but  not  enough  to  act  as  a  disturbing  element.  These 
tones  are  the  soft  yellows,  salmons,  buff,  tan,  rose,  grey-blues, 
soft  violet,  and  apple  and  bluish  greens.  A  selection  from 
these,  made  in  accordance  with  the  principles  mentioned, 
and  which  will  be  exemplified  in  subsequent  sections,  may 
be  used  in  larger  quantity  than  the  brighter  hues,  and  they 
are  therefore  most  appropriate  for  the  textiles  employed 
(upholstery,  rugs,  and  curtains)  and  also  for  accessories. 

"Muddy"  tones  are  those  too  much  modified  by  other 
colours  and  black  to  be  agreeable,  and  they  always  will  be 
found  difficult  to  harmonise.  The  writer  remembers  seeing  a 
"colour-scheme"  of  terra-cotta  red,  dreary  green  and  mauve. 
It  was  naturally  hopeless — the  first  two  tones  were  muddy, 
and  these  were  further  complicated  by  the  mauve  (violet  and 
white)  which  was  bright  and  rather  artificial. 


52  THE  SMALL  HOUSE  AND  APARTMENT 

The  tints  are  still  lighter,  and,  except  in  the  instances 
mentioned,  will  not  be  found  to  clash  with  each  other  or  the 
tones — cold  bluish  or  greenish  tints  in  opposition  to  warm 
hues  are  the  main  combinations  to  be  avoided.  Because  of 
their  neutrality,  tints  may  be  used  in  large  quantity  and  they 
are  particularly  appropriate  therefore  for  backgrounds. 

Shades  are  deeper,  richer,  and  at  the  same  time  quieter 
in  hue  than  the  normal  colours  and  so  may  be  used  in  larger 
quantity  than  they. 

The  colours  as  divided  by  the  prism  fuse  back  into 
white  light,  but  our  pigments  are  material  and  when  mixed 
together  in  their  full  power  produce  black. 

White  is  our  nearest  approach  to  the  light  of  nature 
(though  yellow  gives  a  more  sunny  appearance)  and  black 
is  the  absence  of  light.  These  two  and  the  greys  princi- 
pally composed  of  them  are  neutrals  and  may  accompany 
any  hues. 

Another  great  resource  is  that  of  commingled  colour. 
In  pottery,  oriental  rugs,  embroidery,  tapestries,  and  other 
textiles  we  find  a  number  of  hues  all  harmoniously  blended: 
when  any  of  these  are  appropriately  introduced  into  a  room 
an  added  colour-effect  is  obtained  without  disturbance.  In 
simple  houses  the  beautiful  printed  linens  and  Roman  stripes 
as  well  as  chintzes  and  cretonnes  of  good  design  and  colouring 
will  therefore  be  of  value.  Cretonnes  have,  however,  been 
so  extensively  employed  of  late  years  that  it  is  best  to  avoid 
those  of  usual  design  and  character. 

The  quantity  and  quality  of  the  light  penetrating  the 
various  rooms  has  a  very  considerable  effect  upon  colour. 
If  a  room  be  somewhat  dark  its  colouring  will  naturally 
appear  not  only  darker  but  quieter  than  where  the  light  is 
brilliant.  If  the  room  has  a  cool  light  the  hues  will  be  cooler 
than  if  a  sunny  effect  prevails.  To  counteract  the  effect  of 
light  we  continually  see  it  advocated  that  cool  colours  be 


THE  PRACTICAL  USE  OF  COLOUR      53 

used  in  a  sunny  room  and  vice  versa.  We  should  naturally 
allow  for  the  actual  difference  made  by  natural  light,  but  not 
go  to  the  length  of  upsetting  the  general  harmony  of  the 
abode,  as  has  sometimes  been  done  through  a  too  earnest 
following  of  advice  which  has  not  been  sufficiently  qualified. 
A  slight  preponderance  of  warm  tone  over  the  general  aver- 
age in  a  room  with  cool  light,  and  the  opposite  in  a  sunny 
room,  will  be  sufficient. 

Closely  allied  to  this  is  the  question  of  the  quality  of 
colour  in  city-  as  opposed  to  country-houses.  Here,  too,  it 
does  not  seem  to  the  writer  that  the  circumstances  have  been 
sufficiently  considered.  A  larger  use  of  blues  and  greens  is 
often  advised  for  the  country-house :  but  what  country  house  ? 
Let  us  differentiate.  If  it  is  used  only  as  a  summer  residence 
it  should  certainly  give  the  impression  of  coolness.  On  the 
other  hand  such  a  house  is  more  informal  and,  as  connected 
with  outdoor  life  and  sports,  may  well  have  more  gaiety  than 
the  city  abode.  We  should  naturally  not  fill  it  with  hot 
colour  (nor  should  we  so  bedeck  the  city  home)  but  is  not  the 
effect  of  coolness  better  gained  by  an  absence  of  all  crowding  and 
"fussiness"!  With  this  feeling  of  repose  and  spaciousness 
secured  we  may  well  introduce  a  good  degree  of  liveliness  in 
colour  and  so  obtain  an  appropriate  summer  menage.  Nor 
should  it  be  forgotten  that  in  the  country  during  the  summer 
there  is  an  abundance  of  blue  and  green  outside,  visible 
through  open  doors  and  windows,  and  that  this  coolness  of 
light  also  penetrates  all  but  sun-lit  rooms.  Then,  too,  with 
this  prevalence  of  cool  tones  without  the  house  do  we  not 
need  a  certain  degree  of  contrast  within? 

If  the  country-house  is  to  be  the  home  throughout  the 
year  the  writer  confesses  that  he  sees  little  difference  in  the 
amount  of  color  to  be  employed  between  that  and  the  city- 
house.  Appropriateness  to  season  and  an  agreeable  variety 
may  be  obtained  in  either  by  putting  away  during  the  warm 


54  THE  SMALL  HOUSE  AND  APARTMENT 

weather  many  furnishings  and  accessories  that  in  the  winter 
embellish  the  home.  As  lightness,  both  of  weight  and  colour, 
has  much  to  do  with  a  cool  effect,  summer  draperies  and 
rugs  may  take  the  place  of  heavier  ones  and  the  furniture 
be  covered  with  chintz  or  linen.  Briefly,  then,  we  may  use 
less  colour  during  the  warm  season  if  so  desired,  but  not 
necessarily  so  if  the  weights  and  tones  be  lighter  and  more 
refreshing.  Plate  2  shows  an  interior  that  would  seem  to  be 
appropriate  for  any  season. 

COLOUR-SCHEMES 

Numerous  colour  combinations  will  be  suggested  through- 
out the  following  sections  on  actual  furnishing,  but  it  is 
needful  that  the  general  management  of  colour  should  have 
attention  here. 

There  are  many  to  whom  an  arrangement  in  colour,  in 
environment  and  attire,  is  a  matter  of  daily  familiarity. 
Others  seem  to  consider  that  there  is  something  esoteric, 
mysterious,  and  beyond  their  ken  in  the  term  and  in  the 
thing  itself. 

But  such  a  scheme  is  merely  the  general  plan  of  colour. 
One  would  scarcely  dream  of  building  a  house  without  a  plan, 
and  a  very  detailed  one  at  that.  Colour  is  quite  as  important 
as  form  in  its  effect,  and  yet  there  are  some  who  simply  buy 
what  takes  their  momentary  fancy,  irrespective  of  its  hue 
according  with  what  Is  already  in  the  house  or  with  the  next 
purchase  that  may  be  made. 

The  suggesting  of  a  colour-scheme  (or  a  score  of  them) 
for  single  rooms  is  a  very  easy  matter  to  one  familiar  with 
the  subject;  and  this,  by  the  way,  is  all  that  writers  usually 
attempt  to  do;  the  real  problem  has  almost  universally  been 
"side-stepped." 

It  is  a  problem,  and  to  be  thorough-going  it  must  be 
faced.  The  first  move  is  clearly  to  state  it. 


55 

I:  If  the  premises  consist  of  a  number  of  rooms,  we  do 
not  dwell  in  one  only;  consequently  the  premises  constitute 
the  unit — one  room  does  not  constitute  it. 

II:  There  should  be  some  sort  of  unity  in  the  colouring 
of  those  rooms  which  will  lead  us  to  feel  that  the  house  or 
apartment  is  one  coherent  dwelling  and  not  a  number  of 
samples  of  colouring. 

Ill:  Within  the  scope  of  that  unity  there  should  exist 
variety  and  interest.  Repetition  of  however  beautiful  and 
harmonious  an  effect  leads  but  to  monotony,  and  if  long 
continued  to  homicidal  instincts  on  the  part  of  the  irritable. 

IV:  The  provider  of  a  system  of  colouring  should  give 
the  greatest  possible  scope  to  that  variety,  whether  the 
householder  chooses  to  take  the  fullest  advantage  of  all  its 
facilities  or  not. 

The  writer  has  given  much  thought  to  the  subject  and 
concludes  that  the  best  solution  of  the  problem  is  to  use  a 
triad  of  colours  for  the  stronger  tones,  with  combinations  of 
them  where  advisable,  and  to  add  to  these  the  more  neutral- 
ised tones,  such  as  citron,  fawn,  slate  and  tan,  with  the 
highly  neutralised  tints  for  plain  surfaces.  This  plan  will 
immediately  be  made  so  clear  that  it  may  be  understood 
by  anyone. 

As  we  have  seen,  two  colours,  with  neutrals,  may  afford 
a  very  beautiful  effect:  a  greyed  blue  and  a  buff  as  the  princi- 
pal hues  of  a  room,  with  a  sufficiency  of  old  ivory  or  soft  grey 
in  the  background,  compose  an  exquisite  harmony:  yet  that 
room  will  not  then  be  so  delightful  as  if  a  bowl  of  roses  is 
brought  into  it.  If  these  flowers  contain  some  cream  in  their 
tints — thus  uniting  them  with  the  buff  tones  employed— 
the  harmony  will  be  even  more  complete.  Let  us  reiterate 
that  the  eye  will  never  fully  be  satisfied  unless  all  the  three 
colours  composing  white  light  are  in  some  degree  present. 


56  THE  SMALL  HOUSE  AND  APARTMENT 

Furthermore — two  colours,  only,  almost  inevitably  give 
an  arranged  and  artificial  effect  decidedly  to  be  avoided  in 
the  home.  And,  how  should  we  be  able  to  carry  such  a 
limited  colouring  as  blue  and  buff  through  a  series  of  rooms 
without  producing  monotony? 

In  the  previous  sections  we  saw  that  the  two  principal 
triads  are  those  of  the  primitive  colors,  yellow,  red,  and  blue, 
and  of  the  secondary  colours,  orange,  green,  and  violet.  We 
may  take  either  as  a  basis,  but  shall  find  that  in  using  the 
first  we  may  also  avail  ourselves  of  some  of  the  second,  each 
of  them  being  composed  by  a  combination  of  two  of  the 
primary  colours.  We  also  found  that  modified  hues  are  both 
more  generally  agreeable  to  us  and  far  easier  to  harmonise 
than  the  bright,  prismatic  colours. 

The  method  is  therefore  simple,  yet  the  requirements 
are  filled.  Use  a  background  of  neutral  tint,  some  rather 
stronger  but  still  quiet  colouring,  and  then  for  the  strongest 
hues  somewhat  modified  tones  of  either  triad,  with  some  com- 
binations if  desired.  Black,  a  neutral  in  colour  but  strong 
in  accent,  is  also  most  valuable. 

The  modified  yellows  include  such  hues  as  primrose, 
buffs,  tans,  and  yellow  browns.  Among  the  reds  are  rose, 
crushed  raspberry,  burgundy,  and  mulberry,  with  the  salmon 
and  brickish  shades,  less  generally  desirable  but  sometimes 
available.  The  blues  include  the  greyed  and  the  somewhat 
purplish  and  greenish  shades. 

The  other  triad  similarly  includes  the  less  bright  hues  of 
orange,  green,  and  violet. 

It  will  be  seen  how  wide  is  the  latitude  possible  through 
the  different  quantities  in  which  the  various  colours  are  used 
in  the  several  rooms;  the  very  diverse  places  in  which  they 
are  employed;  the  difference  in  their  shades;  and  through  the 
addition  of  combinations  in  fabrics  and  various  articles 
introducing  a  number  of  colours  and  tones. 


THE  PRACTICAL  USE  OF  COLOUR  57 

The  plan  mentioned  in  "The  Practical  Book  of  Interior 
Decoration"  often  works  out  practically  to  the  same  result, 
but  this  is  an  even  simpler  statement  and  affords  a  still 
fuller  palette;  for,  be  it  remembered,  in  furnishing  the  home 
we  are  simply  painting  a  picture,  but  using  the  colours  of  the 
elements  we  employ  instead  of  artists'  pigments. 

As  previously  mentioned,  abundant  illustrations  of  the 
working  of  this  system  will  be  supplied  as  we  proceed. 


CHAPTER  II 
FORM 

USING  ONE'S  NATURAL  PERCEPTION  OF  FORM.  SELECTION  AND 
ARRANGEMENT.  ARRANGEMENTS  SUGGESTED  BY  USE.  BALANCE. 
MOVEMENT.  SCALE.  FORM  IN  FURNITURE.  DESIGN  IN  TEXTILES. 
TEXTURE. 


IN  perhaps  no  other  department  of  house-furnishing  will 
the  usual  common-sense  of  the  individual  be  so  fully  a 
guide  as  in  the  matter  of  form.  Not  everyone  has  an  eye  for 
colour,  and  there  are  many  other  points  on  which  knowledge 
must  be  acquired,  but  most  persons  have  a  fairly  good  eye  for 
form.  It  indeed  seems  to  be  a  more  inherent  talent  than 
most;  for  the  child,  when  it  begins  to  draw  a  face,  invariably 
ignores  the  masses  of  light  and  shade  which  indicate  the 
most  noticeable  characteristics  and  seeks  for  outline.  In 
furnishing,  many  mistakes  are  made  in  matters  relating  to 
form,  but  almost  always  because  of  lack  of  experience  in 
what  to  look  for:  as  soon  as  the  error  is  pointed  out  it  is 
readily  perceived  and  the  person  wonders  why  he  had  not 
himself  noticed  it.  It  will  be  the  object  of  this  chapter, 
therefore,  to  aid  in  opening  the  eyes  of  the  reader  by  a  few 
hints  and  so  enable  him  to  use  fully  the  faculty  he  already 
possesses,  and  this  will  better  be  accomplished  by  first  men- 
tioning such  matters  as  they  are  likely  to  arise,  even  if  by 
this  method  they  are  taken  out  of  their  orderly  arrangement. 
The  form  of  the  various  rooms  of  the  house  and  the 
details  of  doors,  windows,  and  "trim"  have  been  attended  to 
by  the  architect  and  builder.  Objectionable  features,  such 
as  ornamental  grilles,  may  be  removed  and  mantels  of  bad 
design  replaced  by  others,  but  our  main  concern  in  the 
department  of  form  is  with  furniture,  textiles,  accessories  and 
their  placement. 
58 


FORM  59 

FORM  IN  SELECTION  AND  ARRANGEMENT 

If  the  room  be  long  and  low,  so  that  its  lines  are  largely 
horizontal,  it  is  plain  that  it  should  not  contain  furniture  of 
tall,  narrow,  high-shouldered  character  in  which  the  lines 
are  noticeably  perpendicular.  The  converse  is  also  naturally 
true.  If  the  woodwork  is  heavy,  and  particularly  if  there  be 
a  beamed  ceiling,  so  that  the  whole  interior  has  a  sturdy  air, 
then  slender,  fragile  pieces  are  certainly  out  of  their  element 
here.  So  also  are  textiles  of  very  small  and  refined  design. 
It  is  therefore  fundamental  that  the  furnishings  should  suit 
the  room,  and  if  they  decidedly  do  not  no  amount  of  care  or 
expense  spent  upon  it  will  render  it  satisfactory. 

Let  us  remember  another  point,  equally  important, 
the  lines  of  a  room  are  rectangular — it  is  seldom  indeed  that  we 
shall  find  an  oval  or  circular  room  in  a  small  house  or  modest 
apartment.  Those  lines  being  rectangular  we  should  not 
disturb  them  (and  ourselves)  with  rugs  and  pieces  of  furni- 
ture disposed  at  all  angles.  Even  decorators  will  sometimes 
swing  day-beds,  bedsteads,  and  couches  diagonally  out  into 
the  room  -and  it  is  seldom  that  the  repose  of  the  room  is  not 
disturbed  thereby.  Many  women  seem  to  be  possessed  with 
the  notion  that  it  is  "correct  and  artistic"  to  set  upright 
pianos,  desks,  and  china-closets  across  a  corner,  leaving  an 
ugly,  triangular  space  behind.  Rugs  are  similarly  and  wrongly 
placed.  The  only  position  for  them  and  for  the  main  pieces 
of  furniture  is  in  accordance  with  the  directions  of  the  walls, 
either  lengthwise  or  across. 

If  a  room  is  sufficiently  large  to  accomodate  furniture 
out  upon  the  floor  the  rule  still  holds.  A  sofa  at  a  fireplace 
may  be  placed  before  and  parallel  with  it,  or  with  the  end 
of  the  sofa  near  one  side  of  the  chimney-breast,  projecting 
directly  out  into  the  room  and  balanced  by  another  sofa  or  by 
a  chair  and  occasional  table  on  the  opposite  side  (Plates  10 
and  1 50) — in  either  case  it  will  follow  one  or  the  other  direction 


60  THE  SMALL  HOUSE  AND  APARTMENT 

of  the  wall.  A  table  is  often  most  attractively  disposed  with 
not  its  side  but  its  end  to  the  wall,  a  chair  being  placed  con- 
veniently at  hand.  A  rectangular  or  elliptical  table  out 
upon  the  floor  space  should  still  follow  the  direction  of  the 
wall,  either  lengthwise  or  across.  Chairs  and  seating-stools 
form  nearly  the  only  exception — some  of  these  may  be  left  at 
convenient  angles  and  will  give  variety  without  disturbance. 

We  have  seen  in  the  chapter  on  colour  and  just  now  in  the 
placing  of  furniture  that  the  thing  to  be  avoided  is  conflict. 
It  will  be  made  plain  that  this  principle  runs  through  the 
whole  field  of  house-furnishing,  so  that  two  definitions  cannot 
be  too  strongly  emphasised: 

Contrast  is  a  difference  which  affords  agreeable  variety  and 
interest. 

Conflict  is  a  difference  which  is  irreconcilable. 

Although  the  lines  of  a  room  are  rectangular,  the  use  of 
elliptical  (often  erroneously  called  oval)  and  circular  rugs, 
pictures,  and  clocks  do  not  cause  disturbance  but,  rather, 
afford  relief.  When  the  Greeks  built  their  beautiful  and 
severely  rectangular  temples  did  they  employ  square,  de- 
tached pillars?  No,  they  used  circular  columns:  and  did  not 
the  Ionic  capitals  have  round,  spiral  volutes?  Similarly, 
medallions  in  rugs,  hangings,  or  upholstery,  if  well  designed 
and  of  due  proportion,  are  perfectly  in  order — the  cartouche 
has  been  used  to  relieve  severe  forms  in  the  best  architecture 
from  the  early  Renaissance  to  the  present  day.  But — lay 
upon  the  floor  one  Mousul  rug  with  heavy,  strongly-marked, 
diagonal  stripes  and  see  how  it  twists  the  room  awry! 

Top-heaviness  would  seem  to  be  an  immediately  notice- 
able error,  and  yet  the  writer  recently  saw  a  photograph  of 
a  hall  table  with  a  mirror  suspended  above  it  huge  enough  to 
crush  the  table  should  it  become  detached.  This  is  but  one 
instance  of  lack  of  "scale":  others  are  filmy  curtains  depend- 
ing from  heavy  poles,  immense  lamps  upon  fragile  tables, 


FORM  61 

heavy  pieces  of  furniture  used  with  slender  ones,  textiles  of 
sprawling  pattern  in  a  small  room,  great  chairs  crowded  into 
a  narrow  space  or  a  ridiculously  small  chair  attempting  to 
furnish  a  large  area,  the  side  of  a  room  supplied  with  low 
pieces  only,  thus  leaving  a  bare  and  lofty  wall  above.  These 
faults  are  all  evident  and  easily  avoided  when  once  we  think 
of  them.  Rodin  has  said  that  "the  test  of  good  art  is  that 
the  eye  should  be  perfectly  satisfied."  But  our  perceptions 
must  be  fully  developed  in  order  to  be  an  infallible  guide. 

Anyone  introducing  a  wainscot  into  a  room  will  speedily 
discover  that  if  it  occupies  exactly  one  half  of  the  wall- 
height  its  appearance  will  be  "set"  and  unpleasing;  but 
without  a  little  help  he  will  not  know  to  what  height  it 
should  reach.  This  has  been  found  to  be  either  three-eighths 
of  the  height  of  the  wall  if  the  wainscot  is  to  be  low,  or  five- 
eighths  if  higher — the  accurate  proportion  is  that  of  I  to 
1.618.  The  attention  of  artists  has  recently  been  called  to 
this  principle  by  Mr.  Jay  Hambidge  in  America  and  Mr. 
William  Schooling  in  England,  and  perhaps  by  others,  but  it 
is  said  to  have  descended  from  the  Greeks  and  the  masters 
of  painting  were  known  to  be  aware  of  it,  and  its  use  has  been 
found  to  exist  in  the  distribution  of  the  areas  of  their 
pictures.  Mr.  Robert  Henri  showed  the  writer  a  number  of 
examples  he  had  carefully  worked  out  in  addition  to  those 
indicated  by  others. 

It  is  advisable  merely  to  mention  here  that  in  the  disposal 
of  furniture  the  use  of  the  room  itself  sometimes  indicates 
its  prominent  feature:  the  bedstead  is  plainly  the  important 
piece  in  a  bedroom  and  its  situation  should  first  be  deter- 
mined upon.  It  is  said  that,  owing  to  the  electrical  current 
running  from  pole  to  pole,  the  North  and  South  position  is 
the  most  hygienic  one,  so,  if  possible,  the  bedstead  should 
thus  be  placed.  The  need  for  light  in  dressing  will  have 
its  influence  upon  selecting  a  position  for  dressing-table  or 


62 


THE  SMALL  HOUSE  AND  APARTMENT 


bureau.  These  are  obvious  indications,  but  the  arrangement 
of  a  living-room  of  fair  size  is  so  much  a  different  matter, 
that  it  is  often  passed  by  with  a  few  remarks.  In  this  volume 
if  is  fully  treated  in  the  next  section. 

ARRANGEMENTS  SUGGESTED  BY  USE 

But  planning  and  arranging  must  not  only  be  for  correct- 
ness of  effect  but  for  comfort  and  convenience.  So  far  are 
they  from  being  at  enmity  that  beauty  is  almost  invariably 
willing  to  lend  herself  as  a  handmaid  to  true  usefulness. 


Diagram  3.    An  Arrangement  Sug- 
gested by  Use 

Take  the  corner  of  the  room  shown  in  this  diagram  as 
an  instance.  A  medium-sized  grand  piano:  by  its  side  the 
elliptical  table  with  its  lamp,  small  ornaments,  and  attrac- 
tive magazines.  Not  only  is  it  the  best  place  in  this  particular 
room  for  this  table,  but  on  it  also  stands  a  small  electric 
lamp  which  may  be  lifted  up  and  fastened  upon  the  key-board 
of  the  piano.  A  comfortable  chair  is  of  course  needed  by  the 
table  and  lamp,  and  an  easy  Hepplewhite  fits  comfortably 
into  its  nook.  See  how  naturally  then  these  objects  group 
and  how  their  curves  supplement  each  other:  it  was  use 
that  dictated  the  arrangement,  but  use  is  found  also  to 
be  beauty. 

This  is  no  less  true  of  the  fireside-arrangement  already 
mentioned — a  sofa  projecting  out  into  the  room  with  its 


FORM  63 

one  end  near  the  chimney-breast:  on  the  opposite  side  a  big 
arm  or  wing-chair  and  by  it  a  table:  a  cricket  by  the  hearth, 
a  seating-stool  or  two  disposed  amiably  about,  between, 
where  they  are  needed — an  attractive  alcove,  is  it  not?  for 
a  congenial  family  about  the  fire  on  a  blustery  winter  night, 
the  lamp  turned  low,  the  flames  hissing  and  crackling 
between  the  logs,  wreaths  of  spark-lit  smoke  twisting, 
curling,  drifting,  always  upward.  Such  is  Home! 

And  have  we  not  now  made  a  beginning  toward  the 
arrangement  of  that  ideal  living-room,  a  bit  difficult,  perhaps, 
not  because  there  is  no  central  interest  but  because  there  are 
so  many!  Let  us  look  at  them.  As  on  the  winter  night  we 
unconsciously  circle  about  the  fireside,  so  in  the  sun-lit 
summer  it  is  the  double  or  triple  window  which  holds  our 
interest.  If  there  is  no  built-in  window-seat  we  may  easily 
have  a  box  made  or  put  here  a  couch  with  plenty  of  comfort- 
able pillows.  If  the  window  be  but  a  single  one  an  attrac- 
tively covered  box-seat  may  easily  be  fashioned,  or  a  roomy 
chair  placed  nearby.  But  in  these  busy  days  dreaming  by 
the  fire  or  the  open  window  is  a  luxury;  there  is  work  to  do  or 
intellectual  knowledge  to  be  gained.  Would  to  Heaven  that 
the  men  and  women  of  to-day  might  realise  the  pleasure  to 
be  won  through  both  instead  of  running  off  to  the  uncon- 
scionable "movies".  Well,  then,  there  should  be  a  case  of 
good  books,  constantly  used;  if  possible  a  piano  and  excellent 
music;  a  table  with  a  lamp  affording  a  fine  reading-light — 
not  a  befrilled  floor  abomination.  There  should  be  a  handy 
desk  at  which  to  write  letters  or  cast  up  the  necessary 
accounts,  so  very  necessary  in  these  days  of  "la  chere  vie" 
— the  dear  life — as  our  French  friends  term  it.  If  there  are 
children  "getting  their  lessons"  their  elders  with  book, 
embroidery,  or  sewing  will  not  find  the  table  so  often  kicked 
if  they  provide  the  "kiddies"  with  another  one.  And  then 
there  are  friends  and  hospitality:  a  small  gate-legged  table 


64  THE  SMALL  HOUSE  AND  APARTMENT 

that  goes  neatly  against  the  wall  when  folded,  or  a  pie-crust 
in  the  corner — either  is  admirable  to  bring  out  for  light 
refreshments.  A  console  cabinet  will  be  found  useful  as  a 
receptacle  and  may  also  be  beautiful :  so  likewise  may  be  the 
mirror  above  it,  perhaps  backed  by  an  attractive  hanging. 
Bring  nature  indoors — let  us  have  growing  plants  and  flowers 
when  we  may:  simple  pottery  or  porcelain  vases  in  graceful 
line  and  charming  colour  hold  them,  or  else  clear  glass 
through  which  the  stems  make  a  picture  of  varied  green. 
Candlesticks  by  all  means,  with  their  glint  of  metal,  holding 
their  white  cylinders  of  wax  or  colourful  candles.  Pictures, 
few  but  good  and  appropriate — or  else  better  none  at  all. 

Now  let  us  try  to  arrange  these  objects  according  to  use 
and  convenience,  but  not  forgetting  balance  of  form  and 
colour,  and  see  if  they  do  not  fall  naturally  into  place.  A 
really  small  room  would  not  accomodate  all  and  some 
features  might  have  to  be  abandoned — an  easy  chair  might 
take  the  place  of  the  sofa  if  necessary  and  the  console  be 
omitted :  but  the  writer  has  found  that  a  room  15x19^  feet  is 
sufficient  for  most  of  them,  and  in  many  small  houses  or 
apartments  the  living-room  is  this  large.  He  has  taken  for 
experiment  a  perfectly  plain  rectangular  example,  of  the 
usual  conventional  arrangement  and  with  no  attractive 
advantages  beyond  a  fireplace  and  wide  window.  Let  us 
follow  the  natural  process  for  disposing  of  the  furniture 
according  to  use  and  convenience:  there  is  no  built-in 
window  seat,  so  a  box  is  made,  a  valance  put  around  it,  and 
a  squab-cushion  made  for  the  top,  or  an  attractively  covered 
box-couch  with  pillows  is  placed  in  the  recess.  The  lid  of 
such  couches  lifts  and  they  are  a  great  convenience  for 
storage.  The  fireside  arrangement  has  already  been  given. 
Besides  these  there  are  three  large  pieces  of  wall-furniture, 
each  of  considerable  height — an  upright  piano,  a  book-case 
and  the  built-up  effect  of  table,  hanging  and  mirror.  The 


FORM  65 

desk  is  a  wall-piece  of  medium  size.  One  goes  to  the  book- 
case but  to  take  out  or  replace  a  volume  and  a  strong  light  is 
not  continuously  needed:  it  may  therefore  be  placed  on  the 
wall  next  the  fireplace.  The  reading  of  music  requires  light, 
and  a  sufficiency  will  reach  the  piano  from  the  front  window 
if  the  instrument  is  placed  on  the  side-wall  space  to  the 
right  of  the  double  window.  The  table  with  accessories  will 


Window  Seskf 


Desk 


Settee 


_j 

Chadr 

< 

TaJJe 

~n 

Book  -case 

rd 

ffajYtel 

Diagram  4. — Floor-plan  of  living-room,  showing  arrangement  of  furniture 
See  Plate  2  for  colour-scheme  and  furnishing 

go  at  the  left,  and  the  desk  against  the  dining-room  wall  will 
receive  light  from  this  double  window.  It  should  have  a  desk- 
lamp  for  night  use.  In  the  front  of  the  room  there  is  abundant 
space  for  a  large  table,  an  easy  chair  and  a  seating-stool.  The 
light  here  will  be  excellent,  owing  to  the  front  window. 

The  refreshment-table  takes  its  position  against  the 
dining-room  wall  corresponding  to  the  desk,  but  as  these 
when  of  small  size  are  light  in  weight  it  may  be  moved  to 
any  desired  location  when  required.  As  the  large  chair  at 


66  THE  SMALL  HOUSE  AND  APARTMENT 

the  fire-place  has  its  back  to  the  principal  entrance  to  the 
room  and  as  this  is  not  inviting,  an  attractive  screen  partially 
hides  this  and  may  be  unfolded  to  prevent  draft  from  the  door 
when  necessary. 

In  order  to  make  this  exposition  of  furnishing  complete 
and  thoroughly  helpful  to  the  reader  the  author  drew  the 
floor-plan  herewith  given.  But  not  resting  satisfied  even 
with  this  and  wishing  to  show  how  this  room  might  be  made 
to  appear,  he  has  designed  it,  with  its  colour-scheme  and  fur- 
nishings, and  the  result  will  be  seen  in  Plate  2.  As  will  be 
shown  by  the  text  describing  this  furnishing  in  detail  (Pages 
147-9)  everything  in  this  room  is  of  moderate  cost. 

This  mental  process  of  arrangement  and  the  selection 
of  furniture  and  fabrics  should  be  of  much  aid  in  even  widely 
varying  circumstances.  The  principles  involved  are  the 
same  when  handsome  period  furniture  and  expensive  textiles 
are  substituted  for  these  simple  furnishings. 

Among  the  expedients  suggested  by  use  but  adding 
attractiveness  is  the  placing  of  a  screen  at  the  end  of  a 
couch,  thus  both  increasing  its  coziness  and  retirement  and 
obviating  drafts  from  the  open  door.  One  fold  is  set  against 
the  end  of  the  couch  and  the  others  back  against  the  wall, 
and  in  the  right-angled  space  so  formed  is  placed  an  occa- 
sional-table with  bowl  of  flowers.  This  is  a  very  engaging 
combination,  as  the  screen,  if  good,  forms  an  attractive 
background. 

An  excellent  grouping  for  the  end  of  a  living-room, 
especially  if  it  be  long  and  narrow,  is  a  sofa  or  settee  with  a 
table  placed  in  front  of  it  and  an  easy  chair  or  two  disposed 
at  convenient  angles.  These  objects  fill  most  attractively 
the  end  of  such  a  room,  which  otherwise  might  present  its 
difficulties.  As  is  the  case  with  the  fireside-arrangement  the 
articles  themselves  may  be  varied  according  to  the  general 
character  of  the  room:  the  sofa  may  be  large  and  luxurious 


FORM  67 

and  the  table  a  long  one  of  refectory  character  if  the  furnish- 
ings are  of  that  type,  or,  if  the  remaining  pieces  are  light  and 
graceful,  a  Sheraton  settee  or  Louis  Seize  canape  with  a 
beautiful  occasional-table  will  have  much  charm.  The  same 
grouping  is  equally  convenient  with  simple  furniture. 

A  couch  at  the  foot  of  the  bedstead  in  bed-chambers  is 
likewise  attractive  and  convenient.  More  unusual  is  a  day- 
bed,  as  illustrated  in  Plate  113.  A  low  chest  in  this  position 
will  be  found  useful  for  the  storage  of  bed-coverings  and  also 
as  a  seat,  while  if  good  in  design  it  adds  much  to  the  appear- 
ance of  the  room.  Even  a  comparatively  plain  box  may  be 
used  with  a  handsome  covering. 

Some  suggestions  for  the  dining-room  will  be  found  in 
other  sections,  where  they  more  naturally  occur. 

BALANCE 

In  the  arrangement  of  furniture  Balance  must  also  be 
considered — we  must  see  that  all  the  tall  and  heavy  furniture 
does  not  gravitate  to  one  portion  or  to  one  side  of  the  room 
but  that  the  large  and  small  pieces  are  agreeably  disposed. 
As  a  rule  when  the  notable  objects  have  been  placed  the 
smaller  ones  readily  find  their  position. 

The  writer  has  elsewhere  defined  balance  as  an  equal 
weight  of  effect.  This  depends  upon  colour  and  value  (light- 
ness or  darkness)  as  well  as  bulk.  When  use  dictates  the 
placing  of  an  object  of  insufficient  size  in  opposition  to  another 
object  which  it  should  balance,  the  first  may  be  built  up. 

As  there  is  no  better  way  of  conveying  meaning  than  by 
practical  demonstration,  the  reader  is  asked  to  refer  to 
Plate  2  for  an  examplification  of  both  principles.  Here  the 
table  to  the  left  of  the  window  has  not  of  itself  been  of  suffi- 
cient height  to  balance  the  piano  and  picture  on  the  right. 
Its  height  has  therefore  been  added  to  by  the  tapestry  hang- 
ing above.  The  top  of  the  hanging  is  placed  at  precisely  the 


66  THE  SMALL  HOUSE  AND  APARTMENT 

same  height  as  the  top  of  the  picture  over  the  piano:  the 
objects  on  the  two  sides  of  the  window  are  of  similar  general 
value  and  the  balance  is  correct.  Furthermore,  that  balance 
is  extended  to  the  adjoining  wall.  The  panel  of  Japanese 
prints  is  exactly  centred  as  to  height  on  the  mirror  to  the  right. 
It  will  also  be  seen  that  the  objects  properly  fill  without 
crowding  the  wall-spaces  and  that  they  are  in  right  relation 
to  the  lines  of  painted  panelling.  These  things  constitute 
correct  balance.  If  the  table  were  painted  a  pale  tint  and 
a  light-toned  drapery  were  substituted  for  the  tapestry,  it  is 
evident  that  these  furnishings  would  not  then  have  sufficient 
"weight  of  effect"  to  balance  those  on  the  other  side  of 
the  window. 

Balance  is  of  immense  value  in  giving  repose,  the  sense 
of  restfulness,  to  the  home.  We  saw  its  effect  in  the  realm 
of  colour  when  due  harmony  had  been  secured,  and  we  now 
find  it  equally  necessary  here  as  a  basis  for  furnishing. 

It  will  be  plain  that  in  the  interior  referred  to  a  con- 
siderable interest  has  also  been  gained  by  the  objects  on  the 
two  sides  of  the  window  being  diverse,  even  though  balanc- 
ing. Strictly  formal  balance  is  that  in  which  both  sides 
are  alike — as,  for  instance,  when  two  precisely  matching 
chairs  are  situated  on  opposing  sides  of  a  table  at  exactly 
the  same  distances  from  that  object.  But,  supposing  one  of 
these  chairs  to  be  rather  lighter  in  effect  than  the  other 
(smaller  in  size,  or  more  slenderly  constructed,  or  paler  in  its 
colouring)  what  shall  then  be  done?  At  equal  distances 
from  the  table  they  do  not  balance:  the  lighter  must  be  given 
greater  leverage,  and  so  it  is  moved  a  few  inches  farther 
from  the  central  object,  when  it  will  be  found  to  have  the 
same  weight  of  effect  as  the  other  chair  and  perfect  balance 
will  result. 

If  the  difference  between  the  chairs  is  great  a  substi- 
tution must  be  made  for  the  one  or  the  other.  If  it  is  desired 


PLATE  10 


Chamberlin  Dodds,  Decorator,  New  York 

A  HALL  WITH  ITALIAN   RENAISSANCE  FURNITURE 

Caenstone  wall,  old  Red  Damask  Portiere 


Chamberlin  Dodds,  Decorator,  New  York 
A  LIVING-ROOM   IN   ENGLISH  STYLE 

Walls,  putty  colour;   Carpet,  taupe;   Sofa  and  Wing  Chair  in  Damask 


FURNISHINGS  IN  WHICH  THE  PRINCIPLES  OF  FORM  HAVE  BEEN 
PROPERLY  OBSERVED 


PLATE  ii 


PLATE  12 


PLATE 


FORM  69 

to  place  a  small  book-case  on  one  side  of  a  central  object  and 
a  large  chair  on  the  other,  and  they  balance  well  except  as  to 
height,  then  a  small  picture  may  be  hung  over  the  chair  to 
equalise  them  in  this  respect. 

Similarly  length  may  be  balanced  as  well  as  height.  One 
chair  will  not  balance  a  settee  on  the  opposite  side  of  a  cen- 
tral object  but  two  chairs  will — these  being  placed  so  that 
the  total  length  of  the  chairs  and  space  between  them  equals 
or  slightly  exceeds  that  of  the  settee.  All  these  matters  are 
capable  of  being  worked  out  by  mathematics  but  this  is 
needless,  and  where  furnishings  are  diverse  but  not  greatly 
diverse  a  little  "juggling"  of  a  few  inches  in  one  direction  or 
the  other  and  a  careful  observation  of  the  effect  will  secure 
an  adequate  balance. 

Where  there  is  no  central  object,  furniture  is  disposed  at 
equal  distances  from  an  imaginary  central  line,  as  the  two 
bedsteads  in  Plate  12.  The  space  outside  the  objects  should 
be  greater  than  that  between  them,  as  here,  so  as  to  avoid 
stiffness  of  effect. 

Stiffness  will  be  felt  if  a  room  contains  too  great  an 
amount  of  strictly  formal  balance;  so  some  variation  is  often 
advisable — note  the  agreeable  composition  of  small  objects 
on  the  sideboard  in  Plate  70.  On  the  other  hand  much 
formality  in  certain  directions  often  adds  a  desirable  quaint- 
ness,  as  with  the  orderly  row  of  little  flower-pots  in  Plate  59A. 

A  study  of  the  many  illustrations  given  will  be  of  aid  in 
the  solving  of  one's  own  problems  in  securing  balance. 

Each  wall  should  not  only  look  well  by  itself  but  in 
conjunction  with  that  next  to  it,  and  by  turning  diagonally 
and  looking  toward  the  corners  it  will  readily  be  seen  whether 
this  has  been  accomplished.  The  appearance  from  each 
entrance  to  the  room  should  also  be  attractive.  Engaging 
vistas  from  one  room  to  another  are  especially  pleasing  and 
are  well  worth  effort. 


THE  SMALL  HOUSE  AND  APARTMENT 


MOVEMENT:  ITS  ABUSE  AND  ITS  VALUE 

The  power  of  movement  in  attracting  attention  is  well 
illustrated  by  a  very  homely  example.  A  green  insect  upon 
a  green  leaf  runs  an  excellent  chance  of  escaping  attention  so 
long  as  it  remains  quiet,  but  let  it  begin  to  move  across  the  leaf 
and  it  is  discovered.  So  also  apparent  movement  in  design 
to  a  lesser  degree  attracts  notice  and  interest.  This  move- 
ment is  secured  by  anything  which  causes  the  vision  to  follow 
its  course.  The  eye  runs  along  a  straight  line,  whatever  its 
direction;  it  follows  a  twisted  vine-branch  along  its  sequence 
of  curves.  A  diagram  will  make  the  subject  additionally  clear. 

A 


3  4-  5 

Diagram  5. — Movement  as  illustrated  by  various  forms  of  windows 

A  square,  as  shown  in  figure  I,  has  equal  sides  and  is 
static. 

Figure  2  is  the  form  of  the  classic  window  of  the  Greeks. 
It  has  a  slight  upward  movement  because  the  perpendicular 
lines  are  longer  than  the  horizontal  ones,  but  the  difference 
is  not  great  and  with  its  right-angled  corners  the  window 
is  reposeful. 

Figure  3  may  represent  the  arched  window  of  the 
Romans.  Not  only  because  of  its  greater  height  but  owing 
to  its  curved  top,  it  immediately  attracts  greater  attention 
than  the  previous  example. 

Figure  4  is  the  form  of  the  narrow,  pointed-arch  window 
of  Gothic  architecture.  Its  strong  upward  tendency  is  at 
once  noticeable,  and  it  is  this  movement  toward  the  heaven 
above,  carried  out  also  in  other  details,  which  renders  Gothic 
architecture  so  symbolically  appropriate  to  ecclesiastical  uses. 


FORM  71 

Now  all  of  these  differing  forms  have  been  good  because 
symmetrical — the  two  curved  sides  of  the  Gothic  arch,  for 
instance,  are  equal  and  move  toward  a  common  centre.  But 
suppose  we  built  a  window  of  the  form  of  that  arch  cut  in 
two  longitudinally,  as  it  is  in  Figure  5:  the  vision  is  immed- 
iately twisted  off  to  the  right  at  its  top.  This  is  movement 
indeed,  and  wrong  movement. 

This  quality  of  movement  may  therefore  be  good  or  bad 
in  itself.  An  architectural  design  or  the  pattern  upon  a  settee 
or  chair-covering  may  be  intricate,  one  side  may  be  unlike 
the  other,  but  if  in  its  totality  its  balance  is  perfect  in  form, 
colour,  and  intensity,  and  if  its  movement  is  directly  perpen- 
dicular or  horizontal  it  is  good  design.  If  it  fails  in  any  of 
these  respects  it  is  faulty.  A  Louis  XV  chair  of  the  best  form 
does  not  contain  a  straight  line;  it  is  entirely  curvilinear, 
but  these  curves  are  so  beautifully  proportioned,  so  admir- 
ably supplement  each  other,  that  this  chair  is  a  marvel  of 
graceful  elegance  and  rhythmical  movement  (see  Diagram  17 
on  Page  237) :  the  Mousul  rug  with  diagonal  stripes,  men- 
tioned a  few  pages  back,  is,  on  the  contrary,  simplicity  itself, 
but  it  disturbs  any  room  in  which  it  is  placed  because  these 
stripes  are  in  conflict  with  the  lines  of  the  room. 

THE  ABUSE  OF  MOVEMENT 

But  a  perfectly  designed  rug  if  thrown  down  upon  the 
floor  at  a  wrong  angle  will  be  equally  irritating  (Plate  50) ; 
so  we  see  that  a  good  thing  may  be  wrongly  used  and  that  the 
quality  of  movement  may  also  be  bad  in  its  employment.  In 
this  case  it  is  the  direction  of  the  edges  of  the  rug  which  is  in 
conflict  with  the  direction  of  the  walls  of  the  room.  Now  if 
we  place  several  other  rugs,  each  at  a  different  angle,  the 
result  will  be  simply  distracting;  because  nowhere  will  there 
be  any  repose  for  the  eye  and  the  vision  is  involuntarily 
carried  from  one  direction  to  another, 


72  THE  SMALL  HOUSE  AND  APARTMENT 

Here,  then,  is  the  practical  use  of  a  knowledge  of  move- 
ment. 

I.  Articles  of  furnishing  must  not  only  be  good  in  them- 
selves but  must  rightly  be  placed. 

II.  It  requires  great  carefulness  of  selection  to  find 
several  Oriental  rugs  that  will  harmonise  sufficiently  well  to 
be  used  in  close  proximity  upon  one  floor. 

III.  It  is  next  to  impossible  for  the  general  householder 
to  use  several  textiles  of  strongly  marked,  varying  patterns 
in  one  room  without  conflict.     And  this  disturbance  will 
be  increased  infinitely  if  there  are  also  incongruities  in  colour, 
intensity,  value,  and  scale. 

THE  VALUE  OF  MOVEMENT 

But  the  admission  that  there  are  abuses  connected  with 
a  quality  indicates  that  there  are  advantages  to  be  gained 
from  its  right  employment.  One  of  these  has  already  been 
indicated  in  relation  to  Gothic  Architecture,  and  the  same 
upward  movement  often  has  its  value  in  the  home. 

If  a  ceiling  is  unduly  low  for  the  proportions  of  the  room 
its  apparent  effect  may  be  heightened  by  the  perpendicular 
movement  of  a  striped  wall-paper.  This  will  also  be  of 
advantage  if  some  of  the  pieces  of  furniture  to  be  used  would 
be  a  trifle  too  tall  for  a  happy  result  in  the  room  without  this 
aid.  Likewise,  a  chair-back  which  strikes  one  as  low  in  pro- 
portion to  the  remainder  of  the  piece  or  its  situation  may 
apparently  be  raised  by  using  upon  it  a  striped  fabric  or  one 
with  a  strong  upward  movement  in  its  design.  Remember- 
ing this  principle,  such  a  covering  should  not  be  used  upon 
high-backed  furniture. 

Naturally  the  contrary  effect  will  be  produced  by  hori- 
zontal lines.  A  too  lofty  ceiling  may  seemingly  be  brought 
lower  by  a  set-down  picture-rail,  a  canopy  or  a  frieze :  if  still 
too  high,  a  wainscot,  or  even  a  moulding  run  around  the  wall 


FORM  73 

at  the  height  of  the  window-sill,  will  reduce  this  appearance 
materially.  Strong  horizontal  mouldings-lower  the  apparent 
height  of  a  piece  of  furniture  in  which  the  general  movement 
is  upwa-rd.  When  a  window  is  too  tall  and  narrow,  its 
proportions  may  be  'changed  greatly  by  heavy  curtains 
extended  beyond  its  framework  out  upon  the  wall  surface 
at  the  sides  and  by  the  horizontal  lines  of  a  deep  valance.  On 
the  contrary  the  effect  of  a  low  window  will  be  heightened 
by  keeping  the  curtains  the  width  of  the  casings  at  the  side 
and  setting  the  valance  higher  than  the  top  of  the  window, 
its  lower  edge  hiding  the  top  casing.  The  first  example  is 
only  partially  due,  however,  to  the  quality  of  movement  and 
the  last  one  is  wholly  a  real  change  in  proportion;  these 
being  mentioned  here  because  of  their  practical  usefulness. 

The  value  of  movement  is  most  frequently  seen  in  its 
ability  to  produce  interest.  If  every  surface  in  a  room  were 
rectangular  and  patternless  the  repose  of  that  room  would  be 
so  marked  as  to  cause  irritation  to  living,  active  human 
beings :  so  monotonous  and  tiresome  would  it  become  that  we 
should  intensely  feel  the  need  of  stimulation.  Interest  might 
partially  be  supplied  by  the  intelligent  use  of  colour,  but  we 
should  nevertheless  be  depriving  ourselves  of  all  the  facilities 
afforded  by  beautiful  de'sign.  The  mention  of  these  two 
qualities  together  incidentally  leads  us  to  the  truth  that 
colour  accentuates  the  strength  of  design.  A  blue  fabric  may 
have  a  pattern  in  its  weave  and  the  design  may  not  be  very 
perceptible,  but  note  how  strong  it  becomes  if  the  back- 
ground remains  blue  and  the  pattern  be  woven  in  gold  or 
yellow.  So  also  is  the  pattern  accentuated  by  a  difference  in 
intensity:  the  fabric  may  remain  all  blue,  but  if  either  the 
design  be  very  dark  or 'very  light  and  the  background  be  its 
contrary  the  pattern  will  stand  out  strongly.  If,  therefore, 
there  should  be  much  visible  pattern  in  the  coverings  of  fur- 
niture we  should  use  for  the  curtains  either  a  perfectly  plain 


74          THE  SMALL  HOUSE  AND  APARTMENT 

textile  or  one  in  which  the  design  is  of  the  same  colour  and 
intensity  as  the  background.  If  we  employ  strongly  patterned 
goods  throughout  the  room,  and  particularly  if  the  designs 
are  different  and  of  strong  movement,  repose  will  entirely  have 
disappeared  and,  again,  we  shall  have  nothing  but  conflict. 

Some  movement  seems  to  be  inherent  in  all  design, 
unless  neutralised  by  an  equal  movement  in  the  opposite 
direction — as  in  a  block  pattern :  even  if  a  furniture-covering 
or  a  wall-paper  be  covered  with  small  dots,  the  vision  over- 
leaps the  spaces  between  and  follows  the  lines  of  dots  in  one 
direction  or  another.  If  these  be  very  small  and  unaccented 
by  colour  or  contrast  they  will  likely  escape  attention,  but 
set,  obtrusive  designs  of  this  character  such  as  bouquets  or 
medallions  on  wall-paper  become  simply  maddening. 

But  here,  the  amount  of  space  covered  has  its  influence— 
the  old  fashioned  sprigged-patterned  chintzes  on  a  chair  are 
quaint  and  charming,  as  the  distance  for  the  eye  to  travel  is 
small,  whereas  an  entire  wall  covered  with  the  same  design 
would  become  distracting. 

Then,  too,  if  stripes  are  combined  with  small  figures  the 
effect  is  redressed:  the  eye  is  kept  right  by  the  perpendicu- 
lars and  does  not  wander  off*  on  diagonal  lines. 

It  will  be  seen,  then,  that  in  all  these  matters  there  is  a 
reason  for  everything — no  effect  occurs  by  haphazard,  but 
all  is  actual  and  is  quickly  understood  when  once  pointed  out. 

Colour,  contrast,  pattern  and  movement  are  the  life  of 
furnishing:  but  as  our  own  lives  are  composed  of  both  action 
and  repose  our  furnishing  should  comprise  both,  and  not  an 
undue  proportion  of  either. 

SCALE 

Scale  in  the  department  of  form  refers  to  the  relative 
sizes  of  objects  or  portions  of  them,  and  it  is  of  so  great 
importance  that  several  references  were  made  to  it  in  the 


FORM  75 

first  section  of  this  chapter,  among  the  matters  where  we 
should  especially  be  careful  to  use  our  perceptions.  It  extends 
from  the  rooms  themselves  to  everything  we  may  place 
within  them. 

The  ceiling  of  a  room  should  be  neither  unduly  high  nor 
low  for  its  other  dimensions,  and  if  it  seems  unpleasant  in 
either  direction  we  should  do  what  we  can  to  remedy  the 
defect,  as  suggested  in  the  chapter  on  Movement.  If  it  be 
very  narrow  for  its  length,  the  arrangement  of  furniture  may 
accomplish  something  in  remedying  this  appearance. 

Each  object  placed  in  the  room  should  be  in  proper 
accord  with  the  room,  the  space  occupied,  and  with  the 
other  objects  employed.  There  will  naturally  and  properly 
be  a  large  variation  in  the  size  and  apparent  weight  of  these 
articles,  but  our  own  perceptions,  if  carefully  used,  will 
quickly  tell  us  if  any  of  them  be  out  of  due  proportion  with 
what  is  to  accompany  it.  We  would  not,  for  example,  use 
a  tremendous  overstuffed  couch  in  a  room  with  light  and 
graceful  furniture.  We  should  indeed  be  extremely  cautious 
in  employing  overstuffed  pieces  in  small  rooms :  it  is  only  the 
slender  ones  that  are  not  of  too  great  bulk.  Persons  moving 
from  large  premises  to  small  houses  or  apartments  are 
especially  confronted  with  this  problem  of  scale  because  of 
the  size  of  their  furniture;  and  in  considering  what  pieces  to 
retain  and  what  to  dispose  of  it  should  never  be  overlooked. 
It  should  also  be  remembered  in  the  purchase  of  new  fur- 
niture for  small  premises.  On  the  floor  of  a  large  shop 
dimensions  are  very  deceiving  and  the  eye  alone  cannot  be 
trusted.  The  spaces  to  be  occupied  should  be  measured, 
and  the  pieces  sent  on  approval  wherever  possible.  Height 
and  projection  into  the  room  must  be  taken  into  account  as 
well  as  breadth. 

We  may  often  determine  the  proper  proportions  for  a 
new  article  to  be  purchased  for  a  given  position  by  trying  in 


76          THE  SMALL  HOUSE  AND  APARTMENT 

that  position  pieces  we  already  have.  In  the  case  of  a  chair, 
as  the  readiest  example,  we  may  experiment  with  several  old 
ones  till  it  is  seen  which  is  best  for  the  location  to  be  occu- 
pied by  a  new  one,  and  then  take  its  measurements.  We 
can  mentally  make  allowances  for  small  differences — such  as 
thinking  that  an  inch  or  two  variation  in  height  of  back  or 
breadth  of  seat  would  be  unobjectionable. 

The  idea  that  furniture  must  be  in  suites  is  a  decidedly 
erroneous  one,  but  the  suite  did  have  the  advantage  of  the 
furniture  composing  it  usually  being  in  scale — a  table  leg, 
for  instance,  is  made  heavier  than  a  chair  leg,  and  a  side- 
board is  generally  in  proper  proportion  to  the  accompanying 
table  and  chairs.  It  is  not,  however,  difficult  for  us  to  see 
that  the  pieces  of  furniture  we  place  in  each  room  rightly 
agree  in  size,  shape  and  bulk,  and  that  each  is  not  either  too 
large  or  too  small  for  the  position  occupied. 

A  right  scale  in  other  things  than  furniture  is  equally 
necessary — pictures,  mirrors  or  hangings  are  often  trouble- 
some, but  it  is  better  to  omit  or  to  substitute  rather  than 
employ  any  of  them  wrongly. 

We  may  use  small  rugs,  or  we  may  use  one  rug  nearly 
covering  the  floor,  but  one  fulfilling  neither  purpose  looks 
absurd  and  immediately  proclaims  itself  a  misfit. 

Particular  attention  should  be  paid  to  the  size  of  such 
accessories  as  lamps,  vases,  plant-boxes,  candlesticks,  and 
the  like,  seeing  that  none  of  these  objects  are  overpoweringly 
large  or  too  small  for  the  places  they  occupy  or  to  accompany 
the  other  objects.  In  not  less  than  three  cases  out  of  five 
mantel  ornaments  in  the  average  home  would  be  found  out  of 
scale  in  one  respect  or  the  other. 

We  have  by  no  means  done  with  scale  when  we  have 
looked  after  these  matters.  If  your  rug  is  a  patterned  one  is 
that  pattern  appropriate  in  size  to  the  room  and  its  other 
furnishings?  Is  it  large  and  sprawling  in  a  small  room  with 


FORM  77 

slender,  light  furniture;  or  is  it  fine  and  delicate  in  a  large 
room  with  sturdy  characteristics? — then  that  floor  had 
better  go  bare.  How  does  the  design  of  the  rug  compare  in 
size  with  that  of  the  furniture-covering  or  the  hangings,  if 
any  two  of  these  be  patterned?  It  is  not  well,  by  the  way, 
that  all  three  should  be;  for  the  relief  of  plain  colour  in  one 
of  these  is  usually  needed.  Is  the  design  of  the  textile  appro- 
priate in  size  and  character  to  the  furniture  on  which  it  is 
employed  ?  Is  the  design  on  the  curtain  right  for  the  window  ? 
If  lamp  and  shade  both  carry  patterns  do  they  well  agree  ?  Is 
the  shade,  itself,  of  correct  size  and  proportion  for  the  lamp  ? 

Does  it  seem  as  if  these  matters  entailed  considerable 
trouble  ?  So  do  all  other  affairs  of  life,  unless  we  slip  through 
it  in  a  shiftless  manner.  We  have  the  homely  phrase  of  the 
proof  of  the  pudding  being  in  the  eating,  but  we  need  scarcely 
even  put  it  to  the  test  if  no  attention  has  been  paid  to  the 
proportions  of  its  ingredients. 

FORM  IN  FURNITURE 

Fortunately,  the  reader  does  not  need  to  concern  him- 
self with  the  designing  of  furniture — the  study  of  a  lifetime — 
but  only  with  its  selection.  Material,  colour,  and  covering 
all  fall  into  their  natural  places  as  we  proceed  to  actual  fur- 
nishing, and  to  a  greater  extent  than  ever  before  even  the 
matter  of  selection  of  types  has  been  cared  for  by  the  writer. 
The  householder  will  find  illustrated  in  this  volume  fur- 
niture of  all  styles,  Modern  and  Period,  and  of  many  degrees 
of  cost.  He  will  discover  an  abundance  of  very  inexpen- 
sive furniture  but  he  will  find  no  vulgar,  badly-proportioned 
pieces  with  impressed  ornament  and  varnished  surface.  He 
may  or  he  may  not  choose  to  possess  himself  of  the  partic- 
ular pieces  here  represented  but  he  will  in  any  event  have 
a  guide  to  what  is  suitable  to  any  scale  of  furnishing  he 
may  desire. 


78  THE  SMALL  HOUSE  AND  APARTMENT 

An  habitual  acquaintance  with  good  design  will  lead  one 
inevitably  to  reject  that  which  is  bad  in  contour  or  ornament. 

In  the  purchase  of  furniture  one  phase  of  the  matter 
should  never  be  overlooked;  and  this  has  been  well  stated  by 
Mr.  Henry  W.  Frohne  the  Editor  of  Good  Furniture  Magazine. 

There  is  one  element  in  every  art  product  which  no  cost 
accountant  can  correctly  evaluate.  That  element  is  the  art  value 
which  has  been  put  into  the  article  and  which  contributes,  in  no 
small  way,  to  its  money  value.  For  example,  in  producing  two 
pieces  of  furniture,  equal  quantities  of  labor  and  material  at  iden- 
tical costs  have  been  employed.  According  to  the  cost  accountant, 
these  two  pieces  of  furniture  would  be  of  equal  money  value.  This 
evaluation  would  be  correct  only  if  the  art  value  were  equal  in  both 
cases.  If  one  piece  contained  superior  art  value,  it  would  be  worth 
more  than  the  other. 

This  difference  may  extend  so  far  that,  owing  to  its 
badness  of  design,  the  one  piece  would  be  unwelcome  in  our 
homes,  while  the  other,  at  the  same  cost,  would  prove  a 
constant  delight. 

DESIGN  IN  RELATION  TO  THE  SELECTION  OF  TEXTILES 

From  the  days  of  Helen  down  to  the  latest  revelations 
of  the  divorce  court  we  have  grown  used  to  the  idea  of  ex- 
treme beauty  in  woman  being  an  abundant  breeder  of  trouble; 
and  yet  we  are  apt  to  consider  it  as  none  the  less  desirable. 
Beauty  in  art,  less  piquant  than  that  supreme  example,  when 
once  established  and  settled  in  place  proves  herself  more 
domestic,  but  rinding  the  correct  environment  to  please  her 
high  majesty  is  sometimes  also  rather  troublous.  A  gorgeous 
tapestry,  a  wonderful  Aubusson  carpet  demand  fit  compan- 
ionship, and  when  we  descend  to  the  more  ordinary  settings 
for  our  lives  we  are  still  likely  to  find  conflicts  and  disagree- 
ments. Yet  it  is  a  great  game — this  search  for  beauty — and 
it  is  well  worth  while. 


FORM  79 

In  previous  sections  it  was  noted  that  great  care  must  be 
exercised  to  avoid  conflicting  patterns  in  the  textiles  used. 
In  order  that  the  reader  should  readily  apprehend  the  cause 
of  this  conflict  in  design  (beyond  that  in  scale  and  move- 
ment) he  should  know  of  the  three  classes  into  which  design 
naturally  falls. 

NATURALISTIC  ORNAMENT 

One  of  them  is  that  in  which  nature  is  copied  as  closely 
as  may  be,  and  the  instance  most  usually  cited  is  that  of  a 
carpet  covered  with  roses.  It  seems  nearly  as  brutal  to  walk 
upon  these  flowers,  pictured  so  closely  after  nature,  as  to 
tread  upon  actual  blooms — so  we  may  easily  appreciate  the 
theoretical  inappropriateness  of  naturalistic  ornament.  But 
note  the  use  of  the  word  "theoretical".  It  so  happens  that 
the  beautiful  Aubusson  carpets  previously  mentioned  con- 
tain in  portions  of  their  design  flowers  almost  as  naturalistic 
as  those  first  referred  to,  and  yet  the  inappropriateness  is 
not  nearly  so  marked.  And  why  is  it  less  unseemly  to  sit  in 
the  lap  of  an  empress  of  China,  embroidered  upon  a  chair- 
covering,  than  to  tread  upon  mere  flowers?  It  all  appears 
at  first  glance  very  confusing;  but  there  is  a  reason  for 
all  things. 

In  the  first  place  the  rose-bedecked  carpet  is  usually 
vulgar;  its  hues  are  florid,  and  it  is  of  cheap  quality  and  shows 
its  class.  More  vulgar  yet  are  the  mats  containing  lifelike 
portraits  of  huge  dogs.  In  the  French  carpets,  on  the  con- 
trary, and  in  the  beautiful  silk  and  velvet  textile  shown  in 
Plate  13,  the  naturalism  is  infused  with  art:  the  colours  are  in 
soft  tones  beautifully  blended,  the  workmanship  is  exquisite. 
To  anyone  familiar  with  Chinese  art  the  use  of  human  figures 
and  numberless  natural  objects  urxm  fabrics  needs  no 
apology. 

Do  we  not,  therefore,  come  out  of  our  dilemma  at  about 
this  point? — that  it  is  not  always  so  much  what  is  done  as 


8o          THE  SMALL  HOUSE  AND  APARTMENT 

how  it  is  done!  The  truth  is  that  mankind  has  always  loved 
Nature  and  has  continually  gone  to  her  for  his  inspiration. 
As  we  shall  soon  see  he  has  done  better  when  he  has  infused 
a  greater  part  of  his  own  individuality  into  his  product  and 
has  used  her  as  inspiration  rather  than  followed  her  literally; 
but  just  now  we  are  still  concerned  with  naturalistic  design. 

In  the  embroideries  of  Renaissance  days,  used  as  cover- 
ings, we  continually  find  the  figures  of  saints  and  potentates, 
cavaliers  and  ladies;  the  periods  of  Louis  XV  and  Louis  XVI, 
so  full  of  beauty,  are  noted  for  their  great  use  of  naturalistic 
ornament  of  all  kinds;  oriental  design  is  full  of  pagodas, 
bridges,  birds,  bats,  butterflies,  peacocks,  and  the  like. 
What  shall  we  say?  That  all  this  is  wrong,  inappropriate; 
that  it  is  not  art?  It  seems  to  the  present  writer  that  we 
should  be  a  trifle  cautious  in  "pontificating "on  such  matters. 
Mankind  loves  interest  and,  like  nature  herself,  "abhors  a 
vacuum".  Pattern  should  not  be  overdone,  and  there  should 
not  be  too  much  of  it;  but  pattern  we  will  have!  Where 
naturalistic  ornament  is  treated  with  art  we  may  pretty 
safely  say  that  it  is  not  bad  art:  but  the  amateur  is  not  ad- 
vised to  embroider  all  sorts  of  objects  from  nature  upon 
sofa-pillows — the  art  might  perchance  be  lacking. 

Let  us  go  one  step  further.  Why  are  the  old  samplers, 
with  houses,  trees,  figures  and  lettering,  frequently  so 
pleasing?  Because  they  are  primitive,  na'if,  and  (shall  I  bor- 
row a  word  from  the  women  writers  on  household  art?)  "so 
quaint";  and  because  they  are  worked  with  the  cross-stitch. 
Now  here,  at  last,  we  have  reached  one  main  explanation  of 
so  much  naturalistic  art  not  being  bad  art — for  the  reason 
that  the  materials  and  methods  employed  impose  a  certain 
degree  of  conventionalisation:  weaving  and  embroidery  do 
take  the  design  a  certain  distance  from  absolute  naturalism, 
and  when  these  processes  are  artistically  handled  the  result 
is  satisfactory. 


FORM  81 

But,  beyond  this  conventionalisation  imposed  by  proc- 
esses, so-called  naturalistic  ornament  is  seldom  entirely  that, 
seldom  a  direct  transcript  from  nature:  almost  always  is 
there  some  arrangement  on  the  part  of  the  designer — as 
in  the  textile  referred  to.  And  this  brings  us  to  the  second 
division  of  the  subject. 

CONVENTIONAL  ORNAMENT 

Man,  in  his  eternal  search  for  beauty,  has  not  always 
been  content  to  copy;  he  is  a  restless  animal,  always  working 
for  improvement — whether  or  not  he  quite  accomplishes  it — 
with  the  itch  for  creation  always  in  his  brain  and  his  finger- 
tips. He  is  not  satisfied  unless  he  can  put  something  of 
himself  into  the  labours  of  his  heart  and  head  and  hands.  So 
he  has  taken  Nature  as  his  inspiration,  his  source,  his  motif — 
call  it  what  you  will — and  has  moulded  her  works  to  his  own 
ends.  He  has  often  travelled  very  far  afield  and,  strange  as 
it  may  seem  to  some  who  have  not  gone  deeply  into  art,  fre- 
quently these  productions  are  his  best. 

In  pictorial  art,  which  many  mistakenly  suppose  should 
be  as  direct  a  copying  of  nature  as  is  possible,  there  are  num- 
erous conventions;  and  even  so  called  naturalistic  painting  is 
Nature  seen  through  the  artist's  temperament,  or  it  is  worth- 
less: whereas  the  modern  school  often  relegates  her  to  an 
entirely  subordinate  place.  Leaving  such  debated  matters 
quite  out  of  the  present  question,  certain  it  is  that  the  best 
decorative  art  is  decoration,  and  not  nature  literally  copied. 

The  artist  then  takes  some  form — say  a  vine,  with 
leaves  and  flowers.  The  stem  describes  many  curves;  but 
these  curves  may  not  be  graceful  in  their  proportions  or  in 
their  relations  to  others;  or,  in  their  "movement"  they  may 
not  proceed  in  the  direction  he  prefers.  He  arranges  them 
on  his  drawing  or  his  loom  to  suit  his  purpose.  So  with  the 
leaves  and  flowers :  he  is  not  copying  Nature,  he  is  not  pre- 


82  THE  SMALL  HOUSE  AND  APARTMENT 

tending  to,  he  is  using  her  as  an  inspiration,  and  he  does  her  no 
violence  by  his  action.  The  shape  of  the  leaves,  or  of  some  of 
them,  may  not  please  him,  may  not  be  just  as  he  wishes  for 
his  purpose;  they  are  of  many  hues  and  some  are  in  strong 
light,  others  in  shadow.  He  wishes  to  confine  himself  to  but 
a  few  tones  and — now  we  see  that  he  knows  what  he  is  about 
— keep  his  design  flat,  so  that  it  will  lie  back  in  its  place — on 
a  chair-back,  perhaps,  for  which  it  may  be  intended.  So  with 
the  flowers :  when  he  has  done  with  them  they  possibly  have 
little  resemblance  to  those  before  him.  He  has,  briefly, 
made  a  design,  a  decoration;  not  a  photographically  accurate 
representation. 

Consider  the  joy  of  the  man  who  made  the  first  design, 
who  had  done  something  new  under  the  sun,  who  had  put 
his  own  skill,  had  put  himself  into  his  work!  Such  is  the 
pleasure  of  every  man  who  makes  a  new  decoration  and  sees 
that  it  is  good!  Is  it  wonderful  that  the  art  into  which  he  has 
put  his  own  soul  is  better  as  decoration  than  a  literal  tran- 
scription of  the  object  that  was  not  primarily  created  for  that 
use?  was  not  created,  to  put  it  boldly,  to  be  literally  trans- 
ferred to  a  chair-back? 

It  would  seem  as  if  almost  every  object  under  heaven 
had  been  seized  upon  by  man  as  his  own  property  and  to  use 
for  his  own  ends.  Why  not  ?  Were  they  not  given  to  man  by 
their  Creator? 

ABSTRACT  ORNAMENT 

But  he  has  done  still  more :  he  has  gone  so  far  from  nature 
that,  while  his  design  suggests  nature,  it  is  difficult  to  say 
precisely  what  natural  object,  if  any,  he  had  in  mind;  and  he 
has  also  created  outright.  The  "pear"  design  in  oriental 
rugs  is  also  called  by  the  names  of  several  other  objects, 
because  it  is  doubtful  which  was  its  inspiration:  likewise  the 
"fish"  motif  in  Feraghan  and  other  weaves.  And  he  has 
created  decorations  often  linear  in  character  and  of  numerous 


FORM  83 

forms  frequently  taking  a  geometric  character  (See  the  sofa- 
cushions  in  Frontispiece). 

We  now  understand  that  it  is  not  always  so  easy  a  mat- 
ter as  separating  bad  from  good  design,  for  there  are  kinds 
of  goodness; — either  bad  or  good  may  exist  in  three  charac- 
ters; and  often  indeed  there  is  a  blending,  or  a  composition 
containing  two  or  all  three  of  these.  The  invention  of  man 
knows  no  end;  and  the  more  he  does  the  more  he  can  do. 
There  may  be  a  medallion — a  form  created  by  man — accom- 
panied by  other  designs,  some  more  conventionalised  than 
others.  And,  though  this  sounds  unpromising,  the  result 
may  after  all  not  be  bad — if  it  is  an  artist  who  is  arranging 
the  design.  Plate  13,  second  illustration,  shows  a  combina- 
tion of  motifs. 

But  generally  the  character  of  ornament  in  a  textile  is 
well  marked,  and  we  can  readily  see  that  a  strictly  geometri- 
cal decoration  does  not  properly  in  immediate  juxtaposition 
accompany  one  with  flowing,  graceful  lines — there  is  no  like- 
ness, no  congruity  in  the  motifs  employed.  Common-sense 
also  shows  us  that  the  agreement  or  disagreement  of  designs 
of  naturalistic  and  conventionalised  natures  depends  upon 
the  degree  of  either  quality.  If  each  is  strongly  marked  in  its 
own  direction,  if — to  reintroduce  the  human  element — their 
dispositions  are  too  different,  we  should  not  be  surprised  if 
that  difference  resulted  in  the  usual  family  jar! 

As  those  whose  temperaments  are  antagonistic  have  no 
opportunity  to  disagree  if  they  remain  widely  apart,  so 
abundant  space  between  two  designs  of  different  character 
is  often  sufficient  to  keep  the  peace. 

Considering  the  bewildering  variety  of  design  contrived 
by  man,  it  will  be  seen  then  that  after  all  we  have  but  few 
qualities  to  bear  in  mind  in  debating  the  friendliness  of  one 


84  tHE  SMALL  HOUSE  AND  APARTMENT 

toward  another — scale,  character,  movement,  separation, 
and  intensity. 

In  the  securing  of  beautiful  surroundings,  textiles  play  a 
most  important  part,  perhaps  the  most  striking  of  any. 
The  householder  should  fully  realise  the  necessity  of  employ- 
ing attractive  and  appropriate  fabrics  upon  his  furniture: 
by  these,  the  house  is  transformed  from  a  bare  and  dreary 
series  of  rooms  to  a  home  abounding  in  comfort  and  delight. 
Our  modern  methods  of  manufacture  enable  us  to  revel  in 
charming  fabrics  reproduced  from  notable  designs  of  the  past 
and  present. 

In  all  this  wealth  of  decorative  material,  colour  is  a  pro- 
lific source  of  interest,  but  second  only  to  that  quality  is  the 
loveliness  of  design.  To  suit  the  multitude  of  conditions  to  be 
met  in  modern  furnishing,  decorative  textiles  for  furniture, 
walls,  and  'floors  are  produced  in  a  choice  of  colour  schemes 
for  each  pattern.  So,  if  suitable  patterns  are  found  for  the 
textiles  in  a  room  each  pattern  may  generally  be  had  in  an 
appropriate  colour  harmony  to  suit  any  scheme. 

TEXTURE 

Mr.  George  Leland  Hunter  said  in  his  admirable  work 
"Decorative  Textiles" :  "The  word  is  Latin  for  weave.  It  is  of 
Textiles  the  most  distinctive  quality,  and  when  applied  to 
other  materials  such  as  wood,  marble  and  brick,  iron,  bronze 
and  gold,  paint,  paper  and  cement,  is  merely  a  borrowed  and 
imitative  term." 

As  these  differences  in  textiles  arise  from  the  various 
materials  employed  and  the  methods  of  their  manufacture, 
so,  in  this. borrowed  meaning,  the  word  may  perhaps  without 
too  great  license  in  a  practical  book  be  taken  to  cover  all 
such  distinguishing  qualities  as  roughness  and  smoothness, 
thickness  and  thinness,  openness  and  closeness,  stiffness 
and  pliability — in  short,  the  general  appearance  and  feel  ©f 


FORM  85 

the  various  substances.  With  it,  in  actual  use,  is  closely 
bound  up  the  resulting  handsomeness  or  commoness  of  the 
product. 

The  importance  of  weave  in  textiles  is  readily  seen  in  a 
field  outside  of  furnishing:  the  quality  of  wool  used  in  a 
genuine  homespun  is  probably  nearly  or  quite  as  good  as 
that  in  fine  broadcloth — the  immense  difference  between 
them  is  due  to  the  processes  of  manufacture. 

Recurring  to  the  method  of  emphasising  the  use  of  a 
principle  by  showing  its  violation,  a  flagrant  example  of 
incongruity  is  but  too  frequently  seen — a  mantel  of  smooth, 
white-enamelled  wood  accompanied  by  a  fireplace-surround 
of  coarse,  rough  brick  with  wide  mortar-joints.  As  usual  in 
this  enlightened  age  the  one  error — in  texture — is  often 
accompanied  by  another — in  scale:  the  mantel  may  likely 
be  of  light  proportion  and  delicate  detail,  while  the  brick  and 
its  mortaring  are  naturally  heavy  and  relatively  clumsy. 
Mr.  Bottomley,  the  architect,  did  far  better  than  this  when 
he  made  the  surround  of  such  a  fireplace  of  white  cement. 

One  of  the  most  obvious  needs  for  discrimination  in  the 
practical  use  of  texture  is  in  the  fabrics  chosen  to  accompany 
the  various  sorts  of  interiors  and  the  furniture  therein  placed. 
Period  furnishing  is  an  object  lesson  in  this  respect,  and  we 
can  readily  see  that  common-sense  was  the  guiding  principle 
of  the  designers  of  the  past,  as  it  should  be  ours.  In  the 
Renaissance  epoch  the  walls  were  usually  of  plaster  or  of 
panelling  in  the  coarse-grained  oak.  In  Italy  the  prevailing 
wood  for  furniture  was  walnut  and  in  England  oak:  in  both 
cases  the  furniture  was  large,  heavy  and  of  bold  design.  The 
coverings  used  were  naturally  therefore  the  velvets,  brocatelles 
or  heavy  damasks  and  brocades  in  full-bodied  colourings,  or 
hand-wrought  needlework,  which  has  a  considerable  rough- 
ness of  texture. 

The  periods  of  Louis  XV  and  XVI  were  of  great  refine- 


86  THE  SMALL  HOUSE  AND  APARTMENT 

ment:  the  walls  were  of  beautifully  designed  delicate  panel- 
ling with  small  projections  and  were  usually  in  tints,  often 
heightened  with  colour  and  gold;  the  furniture  was  relatively 
small,  slender,  and  of  the  highest  elegance.  In  these  instances, 
then,  the  textiles  principally  used  were  of  lighter  weight, 
great  refinement  and  beautiful  colour.  These  two  extremes 
of  material  and  style  will  be  a  general  guide  in  the  selection 
of  textiles  for  our  use  to-day,  but  texture  will  often  occur  in 
connexion  with  actual  work  in  both  the  Modern  and  Period 
methods  of  furnishing  in  Parts  II  and  III  and  practical 
suggestions  will  there  be  made. 

Here  it  should  be  said  that  the  correct  furnishing  of  our 
homes  admits  of  considerable  variation  in  the  different  sub- 
stances and  textures  owing  to  the  demands  of  use.  We  would 
scarcely,  for  instance,  lay  a  silken  damask  upon  our  floors : 
necessity  dictates  that  a  floor-covering  be  of  solid,  heavy, 
and  durable  material,  such  as  wool.  Notwithstanding  the 
difference  in  texture  and  weight  we  may  nevertheless  use  the 
damask  in  upholstering  our  furniture  and  the  woollen  carpet 
or  rug  upon  the  floor,  providing  that  the  latter  be  refined  in 
colour  and  design  and  not  coarse  and  common  in  quality.  We 
may  again  use  silk  for  the  over-curtains  at  the  windows,  but 
for  curtains  next  the  sash  necessity  demands  a  thin,  trans- 
lucent material,  such  as  net.  Here  then  we  already  have 
three  materials,  weights,  and  textures,  and  before  we  have 
done  with  the  room  we  shall  have  added  several  more.  We 
may  theorise  regarding  unity  as  much  as  we  please,  but  in 
such  essentials  what  shall  we  do?  Use  dictates,  and  com- 
mon-sense in  such  cases  bids  us  yield.  Indeed,  does  not 
the  feeling  of  appropriateness-to-purpose  overweigh  the 
theoretical  discrepancy? 

But  there  is  still  much  leeway  for  discrimination  in  tex- 
ture. With  the  silken  damask  furniture-covering  it  would 
not  be  advisable  to  choose  for  the  floor  one  of  the  immensely 


FORM  87 

heavy,  long-fibred  Kazak  rugs,  but  rather,  if  an  Oriental  rug 
is  to  be  used,  one  of  lighter  weight  and  shorter  pile. 

We  should  also  employ  discretion  in  the  use  of  acces- 
sories, so  that  they  may  not  conflict  with  their  surroundings 
or  with  each  other.  An  extreme  example  of  bad  usage  would 
be  a  rough,  primitive  tile  or  piece  of  pottery  among  the 
smoothest  and  most  delicate  porcelains. 

If  the  reader  will  review  the  preceding  sections  he  will 
realise  more  fully  than  ever  before  that  all  good  decoration 
is  based  upon  common-sense  principles  and  that  he  may 
place  confidence  in  the  value  of  his  own  perceptions. 


PART  II 

MODERN,  NON-PERIOD  FURNISHING 

THE  ADVANTAGES  AND  CHARACTERISTICS  OF  THE  STYLE 

I.  THE  SIMPLEST,  MOST  INEXPENSIVE  FURNISHING 
PARTICULARS  AND  MATERIALS  APPLICABLE  TO  ANY  FURNISHING 

II.  FURNISHING  OF  MEDIUM  COST  ' 

III.  THE  HIGHEST  DEVELOPMENT  OF  MODERN  FURNISHING 


PART  II 
MODERN,  NON-PERIOD  FURNISHING 

THE  ADVANTAGES  AND  CHARACTERISTICS 
OF  THE  STYLE 

PRESENT-DAY  CONDITIONS.    CHILDREN.    ADAPTING  FURNISHINGS   TO 
LIFE.   CHARACTERISTICS  AND  USES  OF  THE  STYLE. 

PRESENT-DAY  CONDITIONS 

WE  are  living  in  a  changed  age,  and,  though  there  will  be 
readjustments,  we  need  not  expect  the  world  again  to 
be  as  it  was.  In  our  household  life  we  might  term  it  the  ser- 
vantless  age.  It  is  true  that  the  very  wealthy  may  buy  service, 
as  they  are  able  to  buy  most  things,  and  that  a  few  are  so,fort- 
unate  as  to  have  old  family  butlers  and  maids  remaining 
with  them,;but  most  of  us  must  put  up  with  a  migratory  and 
unsatisfactory  lot  or  with  none  at  all.  There  are  many 
women,  all  honour  to  them,  who  have  always  done  their 
household  work,  but  even  these  must  feel  the  increased 
difficulty  of  securing  aid  in  housecleaning  or  during  illness. 
A  notable  class  is  the  "newly  poor",  among  the  most  intel- 
lectual and  helpful  of  the  community,  whose  incomes  have 
by  no  means  kept  pace  with  the  tremendous  increase  in 
necessary  expenditure.  It  is  doubtful  if  many  of  the  "well- 
to-do"  find  their  large  and  expensive  menages  run  as 
smoothly  as  of  yore,  and  there  can  be  little  real  satisfaction 
and  happiness  when  surrounded  by  a  corps  of  servants 
anxious  to  do  as  little  as  possible  and  exceedingly  aggressive 
in  their  individual  whims,  jealousies  and  demands. 

These  conditions  are  universal,  and  it  is  likely  that  they 
bear  even  harder  upon  family  life  in  Europe  than  in  America. 
Briefly,  therefore,  it  remains  for  us  to  adjust  ourselves  to 
them  and  the  more  quickly  we  do  so  the  better  for  our  hap- 
piness. Those  well  advised  will  do  with  as  little  of  that 

91 


92          THE  SMALL  HOUSE  AND  APARTMENT 

harassing  and  expensive  hindrance  otherwise  called  "help" 
as  possible,  and  this  naturally  leads  to  smaller  and  simpler 
properties.  As  the  move  in  the  city  is  toward  the  conven- 
ient apartment,  so  even  those  who  can  afford  the  extensive 
villa  but  who  seek  peace  and  comfort  rather  than  household 
burdens  will  do  well  to  consider  the  attractive  small  house, 
whether  for  continuous  or  only  summer  use. 

The  adjective  "small"  becomes,  therefore,  more  than 
ever  a  relative  term,  and  may  include  anything  from  a 
cottage  to  a  home  of  considerable  dimensions. 

CHILDREN 

In  no  book  with  which  the  writer  is  acquainted  has  he 
ever  seen  a  reference  to  the  bearing  upon  the  question  of 
furnishing  of  that  exceedingly  important  part  of  the  com- 
munity— the  small  child.  We  read  of  costly  and  beautiful 
mahogany  and  satinwood  furniture  but  nothing  is  said  of 
what  one  "husky"  infant  with  his  little  hammer  or  go-cart 
may  do  to  it!  In  large  houses  with  nursemaids  and  govern- 
esses children  had  their  own  quarters,  and  when  they  invaded 
other  portions  of  the  house  they  were  upon  their  good  behav- 
iour or  speedily  were  banished :  in  smaller  homes  there  was 
usually  someone  to  look  after  them  to  at  least  a  partial  extent, 
but  in  a  far  larger  proportion  of  cases  than  heretofore  they 
now  are  "all  over  the  shop"  and  continually  with  us.  This 
condition,  too,  common-sense  bids  us  face,  unless  we  wish 
that  the  child's  life  should  be  miserable  as  well  as  our  own. 

If,  then,  one  possesses  handsome,  expensive,  and  easily- 
damaged  period  furniture,  covered  in  equally  costly  damasks, 
silks  and  velvets,  and  also  has  small  children  with  few  or  no 
servants,  a  good  place  for  the  furniture  would  be  "locked  up 
in  the  attic"  till  the  children  grow  older. 


MODERN  FURNISHING  93 

ADAPTING  FURNISHINGS  TO  LIFE 

Under  such  conditions  as  the  above,  and  others  indi- 
vidually affecting  us,  it  is  the  part  of  wisdom  in  many  cases 
to  simplify  one's  mode  of  life  and  avoid  all  features  which 
entail  unnecessary  labour:  this  can  be  done  without  the 
sacrifice  of  comfort,  convenience,  interest  or  beauty;  and 
indeed  frequently  with  an  increase  of  all  these  qualities. 

Numberless  homes  are  too  greatly  littered  with  small 
objects — attractive  enough  in  themselves,  perhaps,  but 
entailing  how  much  work  in  their  dusting  and  handling  day 
after  day?  Some  of  these  things  may  be  small  gifts,  and, 
because  of  their  associations,  we  do  not  wish  to  destroy  them; 
therefore  they  remain  to  our  encumbrance  month  after 
month.  After  a  sufficient  use  they  surely  might  be  put  away. 
And  with  them  may  often  go  other  possessions :  let  us  take  a 
lesson  from  the  Japanese  who  display  but  a  few  charming 
decorative  objects  at  a  time. 

How  often,  too,  is  the  home  impeded  with  too  much  fur- 
niture— that  unnecessary  rocker  against  which  everyone  is 
continually  kicking  because  it  is  placed  in  an  awkward  posi- 
tion in  a  room  filled  with  other  probably  more  comfortable 
pieces :  that  centre-table  which  blocks  passage  in  every  direc- 
tion when  it  would  answer  quite  as  well  if  it  were  drawn  to 
one  side. 

And  pictures!  pictures  everywhere,  while  art  is  far  to 
seek! 

Let  us  not  forget  the  average  dining-room  sideboard- 
covered  like  a  har-room  shelf  with  glassware,  china,  and  odd- 
ments.   Consider  the  amount  of  work  necessary  to  keep  these 
"ornaments"  clean  and  in  order. 

The  curse  of  the  modern  home  is  the  false  idea  of  decora- 
tion: decoration  is  secured  not  by  multiplicity  but  by  a  few 
well-chosen  objects  rightly  disposed. 


94  THE  SMALL  HOUSE  AND  APARTMENT 

We  now  reach  the  exceedingly  important  matter  of  the 
type  of  furniture  to  be  selected.  The  most  beautiful  furni- 
ture in  its  proper  place  undoubtedly  is  that  of  the  period 
styles,  from  which  there  is  an  almost  infinite  selection  to  be 
made.  But  these  pieces  entail  cost  and  care;  and,  under  the 
circumstances  we  are  considering,  simple  furniture  is  far  more 
sensible  and,  when  well  chosen  and  aided  by  attractive  and 
suitable  fabrics,  is  little  less  engaging.  An  abundance  of  such 
furniture  is  illustrated  in  this  volume:  it  will  be  seen  that  its 
lines  are  excellent,  that  it  is  sturdy  without  being  clumsy, 
and,  which  here  is  greatly  to  the  point,  that  there  is  an  absence 
of  carving  and  other  ornament,  so  that  its  dusting  is  quickly 
accomplished.  Being  light  of  weight  it  is  also  easily  moved 
when  the  room  is  being  cleaned.  A  slight  knock  leaves  its 
mark  upon  polished  walnut,  mahogany  or  satinwood,  while 
the  plain  oak  and  birch  of  which  simple  furniture  is  usually 
constructed  stand  the  vicissitudes  of  household  wear  much 
better  without  looking  shabby.  Painted  furniture  demands 
more  care,  but  this  will  be  considered  in  its  place. 

Immaculate  but  not  painful  neatness,  the  putting  of 
things  immediately  in  their  proper  place  by  each  member  of 
the  household,  is  an  excellent  habit  in  itself  and  a  great  sav- 
ing of  labour.  Not  only  is  this  true  of  personal  wear  but  of 
the  many  other  things  in  which  our  homes  abound — whether 
sewing-utensils,  tools,  books,  stationery,  and  magazines,  or 
pots,  kettles,  and  pans.  This  is  naturally  not  to  say  that  a 
book  or  two  or  a  few  magazines  may  not  be  left  upon  a  table, 
for  such  things  are  attractive  in  themselves  and  the  home 
should  show  that  it  is  lived  in,  but  if  there  is.a  general  litter 
of  objects  to  be  handled  and  arranged  day  after  day  life  be- 
comes a  burden.  There  are  two  things  which,  more  than  any 
others  that  immediately  occur  to  the  writer,  give  the  appear- 
ance of  disorder  to  any  abode — scattered  newspapers  and  an 
untidy  ash-tray  filled  with  the  remains  of  cigars  or  cigarettes. 


MODERN  FURNISHING  95 

This  habit  of  putting  things  in  their  place  is  much 
facilitated  by  providing  the  place.  There  should  be  abundant 
and  quickly  accessible  storage-room  supplied  either  by  closets 
and  built-in  fitments  or  by  such  articles  of  furniture  as  ward- 
robes, chests,  chests  of  drawers,  cupboards,  and  the  like. 

Under  the  various  disabilities  of  present-day  life  let  us 
see,  then,  what  the  Modern  method  of  furnishing  will  do  for 
us;  not  forgetting  also  its  higher  development  to  be  treated 
in  subsequent  sections. 

CHARACTERISTICS  AND  USES  OF  THE  STYLE 

As  has  been  said,  this  is  an  extremely  various  mode. 
Let  us  begin  with  the  simplest  and  proceed  to  other  develop- 
ments. In  America,  Great  Britain,  and  the  Colonies  there 
already  are  many  who,  desiring  attractive  but  inexpensive 
homes,  have  found  this  the  better  way.  But  there  are  innum- 
erable others  throughout  the  civilised  world,  possessing  a  good 
degree  of  taste  or  in  whom  it  is  latent,  who  have  longed  for 
an  abode  fitted  up  in  an  eminently  practical  manner  and 
which  should  entail  as  little  labour  as  possible  in  its  care, 
but  which  would  satisfy  their  desire  for  something  as  yet 
unattained,  which  thing — whether  or  not  they  are  conscious 
of  it — is  beauty.  This  has  remained  with  them  but  a  dream, 
either  because  they  have  not  known  how  to  realise  it,  or 
because  their  means  have  been  insufficient  to  gratify  their 
wish  in  the  usual  manner.  Such  homes  at  present  generally 
contain  a  varied  assortment  of  furnishings  gathered  from 
many  sources,  without  congruity,  and  with  no  idea  back  of 
its  accumulation.  Where  the  owners  possess  taste  that 
quality  has  unfailingly  made  itself  manifest  against  the 
difficulties  confronting  it;  but  where  it  is  lacking  we  usually 
find  highly  varnished  furniture  of  tortuous  form,  often 
bedizened  with  vulgar  applied  or  stamped  ornament  and 
covered  with  iniquitous  imitation  fabrics  displayed  against 


96  THE  SMALL  HOUSE  AND  APARTMENT 

wall-paper  of  the  tawdriest  type — a  very  orgy  of  the  "cheap 
and  nasty. "  It  is  not  the  owners'  fault — they  have  not  known 
how  to  go  about  their  task  with  the  means  at  their  disposal. 
The  tradition  of  good  furnishing  was  broken  long  years  ago 
and  they  have  not  regained  it. 

Now  contrast  with  such  conditions  the  English  country 
cottage  in  neighborhoods  where  the  good  old  ways  have  held 
their  own.  We  find  plain  plastered  walls  in  pleasing 
neutral  tones:  the  furniture  also  is  plain,  usually  of  oak, 
simple  and  straightforward  in  its  lines,  of  the  fine  old  his- 
toric types  dear  to  the  hearts  of  us  all.  This  furniture  con- 
sists of  dressers,  chests,  gate-leg  and  other  sensible  tables, 
spindle  and  ladder-back  chairs,  and  the  like.  It  is  this  sort 
of  furnishing  in  Great  Britain  and  other  lands  that  affords 
the  basis  for  the  mode  of  furnishing  under  discussion,  but  to 
it  are  added  other  elements  fitting  it  to  the  needs  of  to-day 
and  which  may  well  earn  for  the  style  the  title  of  "Modern. " 

It  is  indeed  difficult  to  find  for  it  an  entirely  comprehen- 
sive name.  "Non-Period"  is  far  from  accurate,  for  though 
"Period"  has  taken  to  itself  of  late  years  a  rather  defined  and 
limited  meaning,  Cottage  and  Peasant  furniture  in  reality 
is  as  much  period  furniture  as  any  other.  Still,  as  we  shall 
see,  the  forms  of  these  historic  pieces  have  in  many  instances 
been  developed  by  modern  designers  of  the  highest  ability 
till  they  possess  individual  features. 

Nor  can'  we  always  call  this  "simple"  furnishing;  for, 
though  its  main  characteristics  should  never  be  forgotten, 
in  the  hands  of  owners  or  decorators  of  refinement  it  has 
shown  its  adaptability,  in  many  houses  and  city  apartments, 
to  the  securing  of  colourful,  ornamental,  and,  when  desired, 
extremely  novel  or  very  handsome  results. 

Each  phase  will  be  treated  in  detail  and  all  sections 
should  be  read,  for  the  simplest  mode  is  the  germ,  and  from  its 
requirements  principles  are  brought  out  that  apply  to  all. 


SECTION  I 

THE  SIMPLEST  AND  MOST  INEXPENSIVE 
FURNISHING 

CHAPTER  I 
PRINCIPLES,  PROCEDURE,  AND  MATERIALS 

THE  POINT  OF  VIEW.    WALLS  AND  CEILINGS.    FLOORS.    SIMPLE  FUR- 
NITURE, AMERICAN  AND  BRITISH. 

THE  POINT  OF  VIEW 

THERE  are  undoubtedly  some  who  at  the  very  begin- 
ning of  considering  an  improvement  in  furnishing  will 
need  to  revise  their  ideas  as  to  what  good  furnishing  is; 
substituting  new  ideals  and  standards  in  place  of  an  indul- 
gence in  plush  and  varnish  and  in  favour  of  the  real,  sincere, 
and  beautiful,  however  simple  it  may  be. 

Probably  we  all  have  our  "queernesses",  and  the  illog- 
ical quality  of  the  human  mind  is  as  entertaining  as  a  circus 
—with  no  admission-fee  to  pay.  Many  persons  revile  tra- 
dition and  have  nothing  but  scorn  for  the  "past";  yet  these 
are  the  very  ones  who  cling  with  the  grasp  of  the  drowning  to 
all  the  ideas  and  ways  of  their  grandmothers,  though  the 
times  in  which  they  lived  constituted  what  is  admittedly  the 
worst  and  the  only  really  bad  period  in  household  furnishing 
since  modern  furnishing  began  in  the  I5th  century. 

Then  those  who  have  been  accustomed  to  a  merely 
casual  collection  of  household  goods  of  various  kinds  and 
colourings,  with  no  distinctive  idea  behind  their  collection, 
and  those  whose  environment  has  unhappily,  through  force 
of  circumstances,  consisted  of  such  things  as  disproportioned 
over-ornamented,  highly  varnished  furniture  with  hideous 
coverings,  of  fancy  wall-papers  and  flower-bedecked  rugs, 
will  possibly  at  first  find  good  furnishing  of  any  kind,  and 

7  97 


98  THE  SMALL  HOUSE  AND  APARTMENT 

particularly  simple  furnishing,  rather  bare  and  strange. 
A  plain  but  attractive  method  of  decoration  is  shown  in 
Plate  2  and  its  carrying  out  described  in  the  text. 

The  first  principle  of  the  much  lauded  democratic  spirit 
of  our  day  and  generation  is  that  we  have  no  betters.  Why 
then  should  anyone  attempt  to  imitate  in  cheap  and  tawdry 
materials  the  more  elaborate  furnishing  of  those  who  are  no 
"better"  (whatever  that  expression  may  mean)  instead  of 
aiming  at  a  really  beautiful  and  appropriate  result,  easily 
to  be  obtained  by  the  use  of  worthy  furniture  and  textiles 
purchasable  at  a  proper  expenditure  for  one's  own  circum- 
stances? Let  us,  without  self-assertion,  be  really  individual 
and  independent.  In  the  beginning  let  us  get  our  ideas  right, 
adopt  a  sensible  point  of  view.  We  should  aim  at  use  and 
beauty:  use  first;  for  if  furnishing  is  inappropriate  to  our- 
selves, to  the  interior  in  which  it  is  employed,  or  to  the 
purposes  designed,  it  will  not  be  beautiful.  Even  rich  deco- 
ration if  rightly  done  has  its  simplicity:  that  is  to  say,  there 
is  no  overcrowding,  and  to  ornament  is  given  the  relief  of 
abundant  plain  surface.  In  this  Modern  style  of  furnishing 
will  be  found  a  large  proportion  of  such  comparatively  un- 
decorated  space  in  walls  and  floors,  brightened  and  made 
interesting  by  the  use  of  colour. 

A  good  effect  may  be  gained  either  by  the  employment 
of  a  very  few  hues  well  disposed  and  balanced,  or  by  a  liberal 
employment  of  colour.  It  is  to  be  noted  that  if  some  of  the 
interior  decoration  shown  in  the  colour  plates  of  this  volume 
possess  too  great  an  element  of  novelty  for  the  personal  taste 
of  any  reader  these  are  readily  subject  to  modification.  But 
it  is  to  be  observed,  as  well,  that  until  the  last  few  years  the 
colour-sense  of  most  of  those  now  alive  has  been  starved,  they 
never  having  been  supplied  with  a  reasonable  amount  of 
nourishment  in  this  direction.  Such  interiors,  then,  will  prove 
a  valuable  tonic.  Colour  in  the  past  was  always  a  vital  part 


MODERN  FURNISHING,  INEXPENSIVE          99 

of  decoration  and  furnishing;    sometimes  it  was  bold  and 
buoyant,  sometimes  refined,  but  it  was  never  anczmic! 

There  is  also  a  certain  amount  of  caution  to  be  used. 
Colourful  decoration  is  now  abroad  in  the  land.  In  some 
quarters  restraint  and  dignity  seem  to  be  unknown  words; 
strong  constructional  qualities  and  appropriateness  to  .archi- 
tectural setting  are  forgotten;  instead  of  sane  abodes  for 
sensible  men  and  women  we  see  dolls'  houses,  bedecked  and 
bedraped,  painted,  stencilled,  embroidered,  window-boxed, 
cord-and-tasselled,  and  cretonned.  All  these  things  are  good 
in  due  proportion,  but  in  some  instances  there  is  "no  rest 
for  the  weary."  We  must  be  saved  from  severity:  would  to 
heaven  we  might  be  spared  from  undue  ornament.  Let  not 
the  woman  of  the  house  imagine  that  with  a  pot  of  paint  of  any 
colour  she  likes,  and  half  a  dozen  of  them  at  that,  lavishly 
applied  to  old  furniture,  and  aided  by  yards  of  "stunning" 
cretonne,  she  will  accomplish  "interior  decoration":  both 
resources  have  value  in  their  place — and  not  too  many  places. 
So  in  all  things:  if  we  indulge  in  an  orgy  of  ornament  we 
shall  soon  be  tempted  to  go  back  to  the  former  inadequate 
symphony  in  mud  and  mustard,  simply  for  the  sake  of  peace 
and  quiet!  A  balanced  yet  adventurous  mind  will  without 
difficulty  create  variety  and  find  expression  for  its  individual- 
ity: it  will  avoid  the  one  error  of  overdoing  as  it  will  the  other 
of  sinking  into  monotony  and  dulness. 

Small  premises,  whether  house  or  apartment,  especially 
demand  restfulness  and  coherence  of  result.  The  cutting  up 
into  a  number  of  fragments  by  different  treatments  in  the 
various  rooms  destroys  the  impression  of  spaciousness  which 
the  premises  as  a  whole,  even  when  of  limited  extent,  may 
give  if  wisely  handled.  Dark  walls  on  the  one  hand  or  strong 
patterns  and  advancing  colouring  in  paperings  on  the  other 
further  minimise  the  effect  of  space.  Upon  the  treatment  of 


ioo         THE  SMALL  HOUSE  AND  APARTMENT 

background — walls,  ceilings  and  floors — more  than  upon  any 
other  one  feature  depends,  then,  a  happy  result  in  the  fur- 
nishing of  the  small  house  or  apartment. 

This  is  not  to  say  that  walls  must  invariably  be  plain  and 
many  interesting  suggestions  will  later  be  made,  but  not  only 
are  we  now  considering  the  simplest  and  most  inexpensive 
mode  of  decoration  but  it  is  in  itself  one  of  the  most  charming 
of  methods. 

WALLS  AND  CEILINGS 

First,  then,  let  us  ensure  the  effect  of  spaciousness — let 
us  make  the  best  possible  use  of  the  facilities  at  our  disposal. 
Light,  cheerful  walls  are  our  first  care,  and  these  may  be  of 
plaster,  tinted,  sand-finished,  or  painted,  or  papered.  The  first 
two  would  only  be  considered  here  in  case  either  is  the  existing 
surface  or  if  the  house  is  in  process  of  construction.  Where 
they  can  be  had,  they  are  among  the  most  desirable  of  finishes 
and  both  were  especially  in  use  during  the  Renaissance  period. 

If  papering  has  in  the  past  been  done,  the  third  method 
may  also  for  this  scale  of  furnishing  be  discarded,  for  the 
removal  of  paper,  preparation  of  the  walls  and  painting 
would  involve  unnecessary  expense.  If  the  walls  are  in 
proper  condition  for  such  treatments,  painting  or  the  use 
of  the  most  reliable  of  the  special  preparations  offer  decided 
advantages.  Such  walls  are  the  most  sanatory  and  are 
easily  cleaned.  Young  children  are  not  only  likely  to  soil 
wall-surfaces  but  often  to  mark  them  with  pencil  or  coloured 
chalks,  and  while  such  defacing  is  serious  in  the  case  of  paper, 
it  is  quickly  removed,  or  if  needs  be  also  covered  with  a  new 
coat,  when  some  form  of  painting  is  employed. 

It  is  always  well  to  remember  that  the  difference  in  cost 
between  the  very  best  and  the  more  inferior  materials  is  but 
little  and  that  labour  is  expensive.  Hence  it  is  poor  economy 
to  save  on  the  first  cost  if  the  work  will  soon  have  to  be 
renewed.  The  long  retaining  of  a  good  appearance  and  the 


MODERN  FURNISHING,  INEXPENSIVE         101 

avoidance  of  the  serious  inconvenience  of  upsetting  the 
premises  for  the  redoing  of  such  work  are  also  to  be  taken  into 
account.  The  best  oil  paint  or  such  other  reliable  material 
should  therefore  be  used  where  possible.  Of  course  in  the 
case  of  rented  properties,  where  the  work  is  done  by  the 
landlord  or  agent,  one  should  in  these  days  take  what  is 
given  him  in  the  way  of  improvement  with  thanksgiving. 

Papering  is  probably  the  most  frequent  treatment,  and 
where  a  choice  is  carefully  made  it  is  eminently  satisfactory. 

The  tints  best  employed  for  walls  are  ivory,  light  warm 
grey,  biscuit  colour,  cream,  fawn,  and  the  like,  depending 
somewhat  upon  the  textiles  to  be  used  in  furnishing.  French 
grey  is  beautiful  and  of  much  refinement,  but  requires 
greater  care  in  the  selection  of  colourings  to  accompany  it 
than  the  slightly  warmer  tones.  Blue  and  green  tints  are 
colder  and  less  generally  advisable.  To  carry  them  success- 
fully through  a  series  of  rooms  needs  much  discrimination, 
and,  though  they  have  been  recommended  for  the  summer 
house,  quite  as  cool  results  can  be  more  readily  obtained  by 
using  the  pale  neutral  greys. 

Absolute  identity  of  tone  is  not  always  required.  Much 
has  been  said  of  the  value  of  cool  tints  for  sunny  rooms  and 
vice  versa  but  these  good  neutral  greys  answer  both  purposes. 
If,  however,  the  light  in  any  room  be  particularly  cold  and 
forbidding,  cream  or  light  yellow  will  give  sunniness  and 
cheer;  which  may  still  further  be  enhanced  by  yellow  tones 
in  the  draperies  at  the  windows. 

Felt  papers  or  those  effects  resembling  plaster,  sand- 
finish,  or  canvas  are  excellent.  So  are  the  stripes  of  light 
grey  and  cream  or  soft  yellow  and  white;  while  the  satin- 
striped  ivory-whites  are  among  the  aristocrats  of  the  wall- 
paper world  and  yet  are  not  expensive. 

In  any  case  or  with  whatever  finish,  the  object  is  to 
supply  throughout  the  house  or  apartment  a  retiring  back- 


102         THE  SMALL  HOUSE  AND  APARTMENT 

ground  which,  notwithstanding  its  quietness,  shall  be  beauti- 
ful in  tone.  Though  these  are  decorated,  such  tints  will  be 
seen  in  Plates,  i,  2,  8,  37,  63,  66,  and  77. 

Ceilings  should  be  a  lighter  tint  of  the  colouring  used 
upon  the  walls.  If  papered,  perfectly  plain,  or  a  dotted 
surface  if  the  ceiling  is  cracked,  will  be  best.  Borders  are 
usually  unnecessary. 

Where  the  woodwork  is  painted  there  is  for  many  interiors 
nothing  superior  to  white  or  oyster-white  enamel.  In  some 
bungalows  and  small  houses  this  "trim"  has  already  been 
stained  a  dark  oak,  and  in  apartments  mahogany  finish  is 
frequently  found;  these  are  perfectly  acceptable.  Later  on 
we  shall  find  that  colour  or  strong  tints  are  also  sometimes 
used  for  woodwork  when  desired. 

These,  then,  are  our  facilities  for  the  treatment  of  plain 
walls:  let  us  consider  them  in  connexion  with  the  furniture 
to  be  employed.  This  furniture  will  fully  be  described  and 
illustrated  in  the  next  division  but  one,  but  we  must  here 
take  into  account  its  texture  and  colour.  The  first  to  be 
mentioned  will  be  of  oak,  stained  in  antique  tones — either 
fumed,  which  is  of  medium  lightness,  or  the  dark  shades,  as 
may  be  preferred  by  the  purchaser.  Oak  is  an  open-grained 
wood,  and  in  Period  furniture,  usually  heavy  and  carved, 
it  properly  demands  walls  with  texture — sand-finished, 
plastered,  painted,  or  if  papered  with  some  tooth  to  the  paper. 
The  oak  furniture  appropriate  to  the  furnishing  now  being 
considered  is  of  slighter  lines,  without  much  ornament,  and 
of  smoother  character;  so  that  the  requirements  are  much 
more  flexible.  Where  it  can  be  had,  it  is  better,  however,  to 
preserve  some  degree  of  robustness  in  the  walls  when  oak 
furniture  is  chosen.  Satin-striped  paper  should  not  in  any 
event  accompany  it.  Woodwork  of  approximately  the  same 
tone  as  the  furniture  is  also  the  more  appropriate,  but  if  in 
rented  properties  or  a  purchased  house  it  already  is  painted 


MODERN  FURNISHING,  INEXPENSIVE          103 

or  enamelled,  surely  we  should  not  in  the  most  inexpensive 
furnishing  be  required  to  change  it.  Modern  conditions  are 
not  always  as  we  should  like  them;  and,  remembering  general 
principles  and  using  them  when  we  may,  we  must  often  do 
the  best  we  can.  If  the  walls  have  greater  "slickness"  than 
is  strictly  advisable,  then  a  more  decorative  effect  may  be 
given  the  furnishings,  so  as  to  accord  better  therewith,  by 
mingling  some  painted  pieces  with  the  oak  in  the  living- 
room  and  dining-room  and  using  painted  or  enamelled  fur- 
niture in  the  bed-rooms.  In  any  case  some  decorative  pieces 
add  variety. 

Where  the  furniture  is  mahogany — and  this  also  is 
provided  for — the  contrary  is  the  case.  This  wood  has  a 
smooth,  reflective  surface,  so  that  refinement  is  the  pre- 
scription for  the  walls  and  woodwork.  White,  ivory  white, 
and  light  tints  are  the  best  colourings;  suavity  of  finish  the 
proper  treatment. 

FLOORS 

Floors  are  the  foundation,  and  to  appear  to  lie  in  their 
appropriate  place,  they  should  be  darker  than  the  walls. 

In  the  present  consideration  they  are  of  great  impor- 
tance, for  large  rugs  are  costly  and  for  inexpensive  furnish- 
ing they  are  unnecessary.  If  the  floors  be  attractive,  or 
made  so,  a  few  small  rugs  are  amply  sufficient  both  for  com- 
fort and  appearance;  for  the  well  polished  floor,  with  reflec- 
tive surface,  is  in  itself  a  thing  cf  beauty  (See  Plate  2). 
Whether  it  be  the  usual  hardwood  floor  or  differently 
treated,  the  result  is  equally  good.  In  order  not  to  halt  the 
progress  of  this  discussion  full  suggestions  regarding  various 
finishes  are  given  in  Part  IV  of  this  volume. 

If  rugs  must  be  inexpensive,  rag-rugs  are  especially 
commended  to  the  reader's  attention.  Many  of  these  are 
very  attractive  and  various  in  their  colourings.  Anyone 
inclined  to  despise  them  will  see  that  a  large  one  is  advan- 


104         THE  SMALL  HOUSE  AND  APARTMENT 

tageously  used  upon  the  floor  of  such  an  excellent  dining-room 
as  that  shown  in  Plate  96,  and  it  may  be  said  that  they  are 
to  be  preferred  to  cheap  and  tawdry  rugs  of  greater  pre- 
tensions, and  are  in  much  better  taste.  They  are  easily 
washed  and  good  ones  hold  their  colour  for  years.  Cotton, 
linen,  or  woollen  rugs  in  solid  tones  with  border  of  darker  or 
contrasting  colour  are  also  excellent,  though  the  latter  are 
more  expensive.  Braided  rugs  should  not  be  forgotten,  and 
if  one  is  the  possessor  of  good  old  hooked  rugs  he  is  indeed 
fortunate.  Among  the  woollen  rugs  those  with  blocks  about  a 
foot  square,  in  two  tones  or  two  colours,  may  now  be  secured 
at  a  reasonable  price.  These  are  very  smart. 

The  purchase  of  very  light  summer  rugs  is  to  be  depre- 
cated, for  they  soil  almost  immediately,  are  too  light  in 
"value"  to  lie  down  well  upon  the  floor,  and  so  destroy  the 
repose  of  the  room.  Very  light  effects  in  rag-rugs  are  like- 
wise to  be  avoided.  On  the  other  hand  dulness  and  heavi- 
ness of  colour  are  not  less  undesirable. 

FURNITURE 

The  present  writer  yields  to  no  one  in  his  love  for  beau- 
tiful period  furniture  (though  not  as  too  often  employed) 
but  is  nevertheless  emphatic  in  stating  that  in  many  cases 
an  undue  proportion  of  the  funds  available  for  furnishing 
has  been  spent  upon  it  to  the  detriment  of  the  complete  result. 
As  has  already  been  said,  simple  furniture  is  often  far  more 
practical,  is,  when  well  designed,  beautiful  and  is  frequently 
more  appropriate  for  particularpurposes  than  elaboratepieces. 

It  is  also  to  be  remembered  that  seating  furniture  is  but 
an  attractive  framework,  and  that  the  beauty  of  the  article 
as  a  whole  is  therefore  dependent  quite  as  much  upon  the 
covering  as  upon  the  woodwork.  It  is  upon  textiles  that 
simple  furnishing  depends  for  its  charm,  and  it  does  not 
depend  in  vain.  Probably  four-fifths  of  all  the  Americans 


MODERN  FURNISHING,  INEXPENSIVE         105 

who  buy  simple  furniture  do  so  not  because  they  want  it  but 
because  they  must.  They  have  not  realised  what  the  writer 
hopes  to  show  them — how  attractive  interiors  may  be  made 
where  it  is  used.  The  result  in  Plate  2,  for  instance,  is 
scarcely  at  all  dependent  upon  the  pieces  of  furniture  there 
appearing.  It  is  asked  that  when  we  are  done  with  even  this 
present  most  inexpensive  mode  of  furnishing  the  reader  try 
to  visualize  it  to  himself.  When  he  has  finished  Part  II  and 
has  seen  what  may  be  accomplished  by  the  use  of  the  various 
grades  of  Modern  furnishing,  he  will  probably  join  the  other 
fifth  in  recognising  that  in  itself  it  is  an  excellent  mode. 

Let  us  see,  therefore,  what  is  available  in  the  direction 
of  simple,  modern,  non-period  furniture. 

What  is  said  in  the  foreword  is  carefully  re-iterated  here 
with  emphasis.  Mere  general  description  and  "chat"  re- 
garding that  exceedingly  various  thing  Modern,  simple 
furniture,  is  of  no  value  whatever  to  the  householder.  The 
writer  was  therefore  compelled  to  be  concrete  and  to  show  in 
these  pages  actual  existing  furniture.  Numerous  other 
styles  will  be  found  in  the  stock  of  one  dealer  or  another, 
and  if  these  be  preferred  they  may  be  purchased  by  the  house- 
holder. Even  in  that  case  the  examples  here  illustrated  will 
afford  an  excellent  general  guide,  and  if  these  be  considered 
the  more  desirable  they  may  be  bought;  but  it  is  to  be  under- 
stood that  they  are  given  for  the  sake  of  helpfulness  to  the 
reader  and  that  he  is  perfectly  untramelled  in  the  exercise  of 
his  personal  choice. 

In  England  some  special  furniture  has  been  designed  for 
the  meeting  of  present-day  needs;  but,  as  suggestive  colour- 
schemes  have  also  been  furnished  for  their  use,  consideration 
of  these  and  other  pieces  will  be  deferred  till  rather  later,  so 
that  all  may  be  given  attention  together:  we  will  therefore 
proceed  to  American  products. 


io6         THE  SMALL  HOUSE  AND  APARTMENT 

AMERICAN  FURNITURE 

Plates,  14,  15,  1 6,  17,  22,  and  23  show  a  representative 
selection  from  a  very  large  assortment  of  furniture  that  has 
been  made  here  for  a  number  of  years  and  which  has  found 
its  place  in  many  American  homes.  It  is  mostly  of  oak, 
though  there  are  some  pieces  of  ash,  birch  and  mahogany. 
All  except  the  latter  are  supplied  in  three  finishes — either 
stained  in  shades  to  be  chosen  by  the  purchaser,  enamelled 
in  any  colour  selected,  or  enamelled  and  decorated.  They 
are  also  furnished,  where  so  desired,  unfinished,  so  that  they 
may  be  treated  in  any  way  chosen  by  the  householder  or 
decorator. 

For  the  convenience  of  the  reader  it  may  be  mentioned 
that  all  this  particular  line  of  furniture  is  sold  direct  and  not 
through  the  dealer,  and  that  the  manufacturers  send  to 
intending  purchasers  envelopes  of  loose  sheets  illustrating  it 
and  detailing  the  particulars  of  size,  weight,  and  the  like, 
with  colour-chart  of  the  various  stains  and  price-list  of  the 
separate  pieces.  Other  inexpensive  furniture,  procurable 
through  dealers,  is  also  shown  in  this  section  in  Plates  18-21 
and  24-28. 

To  return  for  the  present  to  that  first  mentioned,  it  will 
be  seen  as  we  proceed  that  certain  pieces  are  susceptible  of 
two  or  more  uses,  and,  as  that  is  often  the  case  with  other 
furniture  as  well,  it  is  a  point  to  be  remembered;  for  in  mov- 
ing from  one  property  to  another  different  adjustments  in 
the  new  home  from  those  obtaining  in  the  former  one  are 
often  advisable. 

It  is  also  to  be  noted  that  the  furniture  illustrated  in  this 
first  section  falls,  generally,  into  two  classes — straight-line 
and  turned-leg  pieces.  The  first  is  usually  the  least  expen- 
sive. In  selecting,  it  is  desirable  to  keep  each  room  coherent 
in  this  respect  of  form,  though  both  may  be  used  in  the  same 


Manufactured  and  Sold  by  William  Leavens  A  Co.,  Inc.,  Boston.  Mass. 
STRAIGHT-LINE  LIVING-ROOM   FURNITURE 
The  furniture  shown  on  Plates  14-17  is  of  oak  or  birch  in  various  stains  as  desired  or  in  enamel.     See  text. 


PLATE  15 

r. "  ."«'  ~ 


Manufactured  and  Sold  by  William  Leavens  A  Co.,  Inc.,  Boston,  Mass. 
STRAIGHT-LINE  BEDROOM  AND   DINING-ROOM   FURNITURE 


PLATE  16 


Manufactured  and  Sold  by  William  Leavens  A  Co.,  Inc.,  Boston,  Mass. 
THREE-PIECE  DINING-TABLE,    DEXTER  TABLE  AND   CHAIR,   WEBSTER  CHAIRS 


PLATE  17 


Manufactured  and  Sold  by  William  Leavens  &  Co.,  Inc.,  Boston,  Mass. 
TURNED-LEG   FURNITURE  AND   DAY  BEDS 


MODERN  FURNISHING,  INEXPENSIVE         107 

house  or  apartment.  Where  there  is  existing  furniture  it  is 
naturally  wiser  to  choose  that  which  best  accompanies  what 
is  already  in  use.  Frequently  the  pieces  at  present  occupying 
two  or  more  rooms  may  be  weeded  out  and  the  most  desirable 
specimens  gathered  into  one,  when  the  rooms  thus  vacated 
may  be  newly  furnished  throughout,  so  securing  freshness  and 
a  coherent  result. 

We  may  begin  with  the  living-room. 

As  the  first  necessity  of  comfort  is  seating  space,  the 
first  piece  illustrated  (Plate  14)  is  a  settee.  The  leather 
covering  of  seat  and  pillows  is  not  however  advised,  as  the 
opportunity  for  colour  is  lost.  This  will  be  considered  later. 
This  settee  is  supplied  in  both  five  feet  and  six  feet  lengths 
and  it  is  worth  mentioning  that  the  smaller  is  the  more 
advantageous  where  it  is  to  be  placed  at  the  side  of  a  fire- 
place, as  it  only  juts  that  distance  out  upon  the  floor  space. 
The  slat  back  is  also  a  good  feature,  because  its  openness  of 
appearance  preserves  the  spaciousness  of  the  room.  But,  in 
considering  seating-space,  facilities  other  than  the  settee  are 
to  be  remembered.  The  day-bed  has  of  late  years  come  in- 
to its  own,  and  it  is  frequently  a  great  convenience  in  small 
premises,  where,  with  pillows,  it  makes  an  attractive  piece 
of  seating-furniture  by  day  and  a  bed,  if  necessary,  at  night. 
Good  examples  are  illustrated  in  Plates  17  and  25.  The  box- 
couch is  also  useful  in  the  same  ways,  affords  a  certain 
amount  of  storage-space,  and  may  be  made  most  attractive. 
Wicker  furniture  should  not  be  forgotten,  and  a  few  pieces, 
either  painted  or  plain,  mingled  with  the  wooden  pieces  often 
add  interest  when  colourful  fabrics  are  used  on  the  cushions. 
Here,  then,  is  already  a  wide  choice  of  facilities. 

Comfortable,  inviting  chairs  are  needed,  and  for  cheap 
arm-chairs  there  is  nothing  better  than  the  wicker  just 
referred  to.  The  line  of  furniture  first  mentioned  contains  a 
large  number  of  arm-  and  side-chairs,  not  illustrated  here, 


io8         THE  SMALL  HOUSE  AND  APARTMENT 

from  which  a  further  selection  may  be  made,  and  there  are 
also  many  good  ones — and  many  bad  ones — to  be  found  in 
the  general  market. 

An  excellent  bookcase  is  shown  in  Plate  14,  and  this  is 
also  supplied  half  the  breadth  and  with  single  door.  Both 
table-  and  drop-leaf  desks  are  illustrated  here,  and  a  table 
with  drawer.  This  table  has  a  top  32  x  18  inches  and  it  will 
at  once  be  seen  that  it  is  therefore  an  excellent  occasional- 
table  which  could  be  used  either  against  the  wall  or  on  the 
floor-space  in  a  living-room,  or  would  be  convenient  in  bed- 
room or  sewing-room,  or  would  make  an  available  serving- 
table  in  the  dining  room. 

So  with  the  last  piece  of  furniture  on  this  plate  and  the 
more  ornamental  example  on  Plate  23.  These  are  primarily 
intended  as  seats  for  dressing-tables,  but,  as  the  writer  will 
continually  suggest  individual  furnishing  in  these  pages,  he 
strongly  commends  the  use  in  the  living-room  of  seating- 
stools.  These  are  chair-height — 17/^4  inches — and  one  or 
two  of  them  conveniently  placed  and  attractively  cushioned 
and  tasselled,  as  later  will  be  detailed,  give  the  unusual 
touch  and  are  particularly  handy  to  drop  down  upon  for  a 
moment  or  to  draw  up  quickly  when  one  is  engaged  in  a 
short  conversation. 

For  general  use  in  such  rooms — and  also  as  dining- 
tables — it  is  doubtful  if  anything  better  than  the  gate-leg 
table  has  been  devised.  Originating  in  the  days  of  Cromwell 
they  have  ever  since  shown  their  desirability  and  usefulness. 
The  Dexter  gate-leg  illustrated  in  Plate  16  is  reproduced 
from  an  excellent  old  New  England  example.  There  are 
also  straight-leg  tables  included  in  this  line  of  furniture. 

For  the  living-room  these  pieces  should  be  stained,  and 
not  enamelled  in  any  light  tone.  An  individual  effect  is  how- 
ever, gained  by  two  or  three  pieces  in  stronger  hue  mingled 
with  the  rest.  Thus  the  occasional-table,  used  as  a  console, 


PLATE  18 


Manufactured  by  The  Elgin  A.  Simons  Co.,  Syracuse,  N.  Y. 
PAINTED  BREAKFAST-ROOM   SUITE 

In  Dark  Green,  or  Light  Sea-foam  Green,  Parchment,  or  other  colourings 
Buffet,  Height  34  in..  Width  48  in.,  Depth  20  in.     Table,  48  x  42  in. 


c 


Manufactured  by  The  Elgin  A.  Simons  Co.,  Syracuse,  N.  Y. 
BREAKFAST-ROOM   SUITE 

In  Antique  Walnut  and  Ivory,  or  Soft  French  Grey,  or  other  colorings 
Server,  Height  37  in..  Width  48  in..  Depth  19  in. 
Table  accompanies  the  pieces  shown 


PLATE  20 


Manufactured  by  Imperial  Furniture  Co., 
Grand  Rapids,  Mich. 

DINING  CHAIR,  TELEPHONE  STAND 
AND   CHAIR 


PLATE  21 


Manufactured  by  Stickley  Bros.  Co.,  Grand  Rapids,  Mich. 

DUFFET.     Height,  ?6  in.     Top,  48  x  18  in. 
TABLE.     Height,  29  in.     Top,  54  x  44  in. 
CHAIR.     Height,  ?5  in.     Seat,  18  x  17  in. 
COTTAGE  CHAIR.     Height,  }?  in.     Seat,  16  x  14  in. 
Japanese  Decorated  Finish  and  also  in  Old  Mahogany  Finish 


MODERN  FURNISHING,  INEXPENSIVE         109 

might  be  in  grey-blue  or  some  such  colour,  and  a  pair  of  the 
Webster  side-chairs,  illustrated  in  Plate  16  in  a  matching 
shade  and  decorated  as  there  shown,  or  the  stools,  would  add 
greatly  to  the  appearance  of  the  room.  These  chairs  may 
advantageously  be  cushioned  and  tasselled  in  the  way  men- 
tioned in  connexion  with  the  stools. 

The  stain  remains  to  be  considered.  Above  all  things 
in  furnishing  avoid  golden  oak,  and,  so  far  as  the  writer's 
taste  is  concerned,  he  would  add  bottle-green  as  scarcely 
less  undesirable.  - 

Two  matters  should  not  be  overlooked — the  trim  of  the 
room,  where  it  is  of  natural  wood  stained,  and  any  existing 
furniture  which  must  still  be  used.  Absolute  matching  is 
not  required  in  either  case,  but  a  general  heed  should  be 
given  to  what  the  new  furniture  is  to  accompany. 

The  reddish  brown  is  one  of  the  best  of  the  shades,  and, 
if  there  is  a  piece  or  two  of  good  mahogany  which  the  new 
oak  furniture  is  to  accompany,  this  would  be  the  best  stain 
to  order.  There  is  also  a  mahogany  stain,  but  the  grain  of 
oak  is  not  a  good  base  for  a  mahogany  effect,  and  palpable 
and  unsuccessful  imitations  are  to  be  avoided. 

The  others  which  seem  most  generally  advisable  are  the 
fumed,  medium  brown,  dark  brown,  and  silver  grey  (which 
is  really  a  warm  grey).  It  is  to  be  noted  that  these  often 
take  different  tones,  owing  to  the  grain  over  which  they  are 
applied,  and  the  result  is  a  desirable  variety. 

Where  rooms  communicate  with  a  wide  opening,  so  that 
the  two  almost  constitute  a  single  room,  as  often  occurs  with 
living-room  and  dining-room  in  bungalows  (it  is  not  the 
writer's  fault  that  the  English  Language  provides  no  exact 
equivalent  for  room  and  that  the  word  must  so  often  be 
repeated)  it  is  well  that  the  same  stain  should  be  used  in 
both.  For  those  who  appreciate  more  original  effects 
suggestions  will  be  made  when  we  reach  actual  furnishing. 


i  io        THE  SMALL  HOUSE  AND  APARTMENT 

So  far,  oak  furniture  only  has  been  mentioned.  Seem- 
ingly there  is  not  a  great  deal  of  mahogany  furniture  of  this 
inexpensive  class  supplied  for  living-room  use;  some  avail- 
able pieces  may  be  purchased,  and  a  few  suitable  for  this 
purpose  will  also  be  found  illustrated  in  the  plates  still  to 
follow.  These  may  be  supplemented  by  very  desirable 
bookcases  and  desks  shown  in  the  section  on  "  Furnishing  of 
Medium  Expense. " 

To  proceed  to  the  dining-room  furniture,  the  gate-leg 
table  already  mentioned  may  be  employed,  or  the  three- 
piece  tables  shown  in  Plates  15  and  16.  Where  few  are  to  be 
seated,  either  the  central  oblong  of  the  latter  may  be  used 
and  the  semi-circular  ends  set  against  the  walls  here  or  in 
the  living-room  as  consoles,  or  the  two  ends  may  be  joined 
as  a  circular  table  and  the  oblong  placed  against  the  wall. 

The  Dexter  chairs  (Plate  16)  are  as  excellent  as  the 
tables  they  match.  Another  touch  of  individuality  would  be 
given  by  the  use  of  decorated  Webster  chairs  with  supplied 
cushions,  employed  with  either  table  and  a  sideboard,  both 
of  which  are  stained.  A  good  example  of  sideboard  is  shown 
to  the  right  of  the  three-piece  table  on  Plate  15.  It  is  48 
inches  long,  42  inches  high  and  20  inches  deep  and  provides 
excellent  storage  space.  On  the  illustrated  sheet,  it  is  called 
a  "low-boy". 

Before  proceeding,  attention  should  be  called  to  the  other 
turned-leg  furniture  on  Plate  17  and  to  the  decorated  furni- 
ture on  Plates  18  and  21.  As  the  latter  pieces  are  the  first 
here  shown  which  are  to  be  procured  through  dealers,  and 
as  most  of  the  furniture  and  some  textiles  illustrated  in  this 
book  are  so  to  be  bought  in  case  they  are  desired,  it  is  to  be 
mentioned  here  that  for  the  convenience  of  the  reader  the 
two  methods  of  purchase  are  carefully  differentiated  through- 
out. Where  a  name  is  given  preceeded  only  by  the  words 
"Manufactured  by"  the  goods  are  not  sold  retail  by  them 


PLATE  22 


Manufactured  and  Sold  by  William  Leavens  A  Co.,  Inc.,  Boston,  Mass. 
ENAMELLED  AND   DECORATED   BEDROOM   FURNITURE 


PLATE  23 


Manufactured  and  Sold  by  William  Leavens  A  Co.,  Inc.,  Boston.  Mass. 

ENAMELLED  AND   DECORATED   BF.DROOM   FURNITURE, 
CONTINUED 


MODERN  FURNISHING,  INEXPENSIVE         in 

and  all  inquiries  should  be  made  of,  and  orders  given  through, 
a  dealer  in  one's  own  location.  For  further  convenience  par- 
ticulars as  to  size  and  finish  will  often  here  be  found  supplied. 
Where  they  are  absent,  the  writer  does  not  know  them  and 
the  local  dealer  should  be  applied  to,  as  he  can  readily 
ascertain  these  details  if  he  does  not  have  them  at  hand. 

Returning  to  the  subject  of  dining-room  furnishing  it 
should  be  said  that  there  is  now  a  vogue  for  the  technically- 
so-called  breakfast-room  suites.  Originally  designed  for 
homes  containing  such  rooms,  they  are  also  well  adapted  to 
the  use  of  small  families  as  dining-room  furniture  in  the  small 
house  or  apartment  and  a  number  of  them  are  therefore 
illustrated.  They  are  attractive  in  form,  light  in  weight,  and 
brightening  in  their  decorative  quality.  Some  are  also  pro- 
duced in  mahogany  and  walnut.  Plate  18,  just  referred  to, 
shows  portions  of  two  sets  of  such  reasonably  priced  deco- 
rated furniture.  As  is  usually  the  case  with  suites,  so  here  the 
pieces  are  separately  priced,  and  the  purchaser  may  there- 
fore select  as  many  or  as  few  as  he  requires. 

Two  other  available  sets  are  also  here  illustrated.  Plate 
21  shows  buffet,  table  and  chair  and  also  a  good  cottage 
chair  made  by  the  same  manufacturers  as  the  set.  These 
are  finished  with  Japanese  decoration,  or  in  old  mahogany 
finish  at  a  lesser  price.  The  lower  two  pieces  in  Plate  19  are 
the  table  and  buffet,  which  are  accompanied  by  the  chair  on 
Plate  20. 

A  digression  may  here  be  made  to  say  that  the  writer 
has  always  maintained  that  the  most  suitable  place  for  the 
usual  simple  form  of  the  Windsor  chair  is  the  kitchen,  or  at 
least  the  very  simplest  rooms  in  very  simply  furnished  cot- 
tages, and  that  when  they  are  employed  in  connexion  with 
furniture  of  a  higher  grade  they  lessen  the  general  impression 
which  would  be  given  by  that  furniture  without  them.  Fur- 
thermore their  canting  lines  frequently  disturb  an  interior  in 


ii2         THE  SMALL  HOUSE  AND  APARTMENT 

which  the  supports  of  the  other  pieces  are  perpendicular. 
Neither  of  these  objections  obtain  here — this  version  of  the 
Windsor  chair  is  delightfully  quaint,  and  its  lines  agree  with 
those  of  the  remainder  of  the  suite. 

The  other  pieces  on  these  plates  (19  and  20)  are  for 
general  use  and  would  admirably  suit  a  living-room  when 
mahogany  is  preferred  to  the  oak  we  previously  have  been 
considering.  The  gate-leg  principle  of  the  table  is  also  car- 
ried out  in  the  drop-leaf  table-desk,  making  the  latter  an 
especially  good  piece  of  furniture  for  narrow  quarters.  The 
telephone-table  and  low-backed  seat  are  also  attractive. 
The  tops  of  this  furniture  are  of  5  ply  built-up  mahogany 
(which  does  not  warp)  and  the  bases  of  gum,  stained  mahog- 
any, a  wood  often  employed  by  our  Colonial  forefathers.  The 
chair-seats  are  of  birch,  likewise  mahogany  finished.  By 
means  of  these  less  costly  woods  being  partially  employed  it  is 
possible  to  supply  attractive,  well-built,  and  sensible  furniture 
at  reasonable  prices.  We  shall  soon  reach  bedroom  pieces  of 
similar  construction  which  will  well  accompany  these. 

In  considering  the  bedrooms  it  will,  however,  be  well 
first  to  recur  to  the  furniture  with  which  we  began,  so  as 
to  carry  out  that  scheme  in  the  event  of  its  adoption. 

Plates,  15,  22,  and  23  contain  bedroom  pieces  from  the 
plainest  to  decorative  character,  all  being  also  furnished  in 
any  of  the  finishes  previously  mentioned — stained,  enamelled, 
or  enamelled  and  decorated.  There  are  also  many  other 
pieces  of  this  make  not  illustrated  here. 

Either  this  furniture  or  any  other  which  may  be  pur- 
chased may  advisably  be  used  in  the  different  finishes  in  the 
bedrooms  of  the  one  house  or  apartment.  For  if  there  are 
any  rooms  to  which  brightness,  airiness  and  general  attrac- 
tiveness are  suitable  it  is  the  bedrooms  of  the  home.  When 
colour-schemes  and  textiles  are  reached,  suggestions  enhanc- 
ing these  features  will  be  made.  Let  it  not  be  supposed 


PLATE  24 

m 


Manufactured  by  Foote- Reynolds  Co.,  Grand  Rapids,  Mich. 
FOUR  POST  BEDS  WITH  HIGH  AND  LOW  POSTS 
The  bedroom  furniture  on  Plates  26  and  27  is  made  to  accompany  these  beds 


PLATE  25 


Manufactured  by  Foote- Reynolds  Co.,  Grand  Rapids,  Mich. 
LOW-POST  TWIN   BEDS  AND   DAY  BEDS 


PLATE  26 


I 


1   f 


Manufactured  by  Davies-Putnam  Co.,  Grand  Rapids,  Mich. 
BUREAUS  AND  CHIFFONIER  ACCOMPANYING  BEDS  ON  PLATE  24 
Bureau,  top  44  x  21  inches  with  either  glass 
Chiffonier,  top  36  x  21,  height  49  inches 


PLATE  27 
I?  • 


Manufactured  by  Davies-Hutnam  Co.,  Grand  Rapids,  Mich. 

DRESSING-TABLES.   DESK.  AND   BENCH   FOR   BOTH,   ACCOMPANYING  BEDS  ON   PLATE  24 
Dressing-table,  top  20  x  40  inches,  with  either  glass 
Desk,  top  20  x  40  inches 
Bench,  top  14  x  22  inches 


MODERN  FURNISHING,  INEXPENSIVE         113 

therefore  that  the  extreme  simplicity  of  the  bureau,  chest  of 
drawers,  and  slat  head  and  foot  bedsteads  are  prohibitive  of 
charm  in  the  room  where  they  may  be  employed — it  will 
be  shown  that  the  final  result  may  be  quite  otherwise.  In 
any  bedroom  the  Webster  chairs  on  Plate  16  will  be  found 
very  suitable.  The  rocker  is  excellent  in  form,  and  the  bed- 
room, sun-room  and  sewing-room  are  really  the  only  ones 
in  which  rockers  should  be  found.  Let  us  not  forget,  too, 
a  roomy,  easy  wicker  arm-chair  in  each  bedroom,  with  aback 
of  sufficient  height  to  lean  the  head  against.  In  these  stren- 
uous days  even  a  few  minutes  peace  and  rest  in  such  a  chair 
will  be  appreciated. 

Plates  22  and  23  show  bedroom  furniture  of  more  orna- 
mental forms  than  the  above,  which  may  be  used,  either  plain 
or  decorated,  in  the  choicer  rooms.  The  twins  bedsteads  at 
once  suggest  the  remark  that  every  person  for  every  reason 
should  have  his  or  her  own  bed.  They  also  prompt  the 
observation — applying  to  other  furniture  as  well  as  this — 
that  when  twin  bedsteads  are  used,  eight  high  posts  are  apt 
to  give  a  decidedly  "posty"  look  to  the  room  and  that  it  is 
better  to  chose  either  lower  forms  or  the  half-high  posts. 

Both  the  stool  and  the  charmingly  old-fashioned  chair 
on  Plate  23  are  designed  for  dressing-table  or  desk  usage  but 
may  well  be  employed  elsewhere. 

Much  mahogany  furniture  is  manufactured  in  America, 
most  of  it  necessarily  more  expensive  than  that  made  in  oak, 
birch  and  the  like,  but  some  of  it  in  combination  with  gum, 
as  previously  described,  at  moderate  figures.  Among  the 
latter  is  the  bedroom  furniture  illustrated  in  Plates  24-27. 
Here  we  have  the  product  of  two  manufacturers  working  in 
an  admirable  combination,  the  one  making  the  bedsteads 
and  the  other  the  accompanying  pieces.  The  head-and-foot 
boards  of  the  bedsteads  are  of  the  5  ply  built-up  mahogany 
and  these  are  furnished  in  the  standard  sizes  of  both  twin 


ii4         THE  SMALL  HOUSE  AND  APARTMENT 

and  double  width.  The  first  plate  shows  single  examples  of 
twin-bed  size  and  the  first  reproduction  on  Plate  25  the 
twins  with  low-posts.  All  are  of  good  style,  as  are  also  the 
day-beds.  The  remaining  plates  (26  and  27)  illustrate 
equally  good  forms  of  bureau,  chiffonier  (both  open  and 
closed)  dressing-table,  table-desk,  and  bench  for  either  of  the 
last  two.  It  will  be  noted  that  the  bureau  and  dressing-table 
may  be  had  with  mirrors  of  two  forms,  as  preferred.  The 
pieces  are  otherwise  the  same  in  size  and  detail.  Simple 
decorated  furniture  is  also  illustrated  in  Plate  28. 

This  is  but  a  small  portion  of  the  furniture  readily  to  be 
purchased,  but  even  from  this  it  will  be  evident  what  a  large 
array  of  simple,  inexpensive  furniture — oak,  mahogany,  enam- 
elled and  decorated — is  upon  the  open  market  in  America  and 
at  the  householder's  command.  For  this  Modern  method 
the  British  tradition  of  oak  rather  than  mahogany  has  per- 
sisted in  that  country,  doubtless  because  the  continued  use 
of  the  former  wood  in  its  cottages  has  emphasized  the  appro- 
priateness of  oak  for  simple  interiors.  If  they  are  to  remain 
simple  it  is  probably  the  preferable  choice;  the  supply  is 
greater,  there  may  be  a  variety  in  the  different  stains  used  in 
the  various  rooms,  and  in  America  the  effect  is  more  unusual 
because  of  the  almost  ubiquitous  employment  of  mahogany 
in  the  period  furnishing  of  middle-class  houses  and  apart- 
ments. It  is  however,  a  matter  of  personal  preference  and 
the  reader  is  free  to  decide  for  himself. 

If,  as  may  be  the  case  with  newly  married  people,  it  is 
felt  that  the  present  scheme  is  to  be  but  temporary  and 
gradually  developed,  as  means  allow,  into  simple  period  fur- 
nishing of  the  later  styles — such  as  Colonial — then  mahogany 
would  be  the  natural  choice.  A  solid  mahogany  gate-leg 
table  and  a  bookcase  (Plate  57  shows  good  examples)  should 
be  among  the  first  items  purchased  for  the  living  room. 


PLATE  28 


By  Courtesy  of  A.  L.  Diament  A  Co.,  Philadelphia  and  New  York 
SIMPLE  DECORATED  FURNITURE  SUITABLE  FOR  EITHER  MODERN  OR  PERIOD  USE 


MODERN  FURNISHING,  INEXPENSIVE          115 

BRITISH  FURNITURE 

Those  of  any  nationality  will  find  much  of  value  here, 
both  in  furniture  and  decoration,  and  it  already  has  been 
said  that  it  is  unnecessary  to  stress  the  desirability  of  a 
mutual  knowledge,  sympathy  and  co-operation  between 
countries  so  closely  united  by  every  tie  as  Great  Britain  and 
America. 

In  England  the  need  was  felt  both  for  schemes  of  deco- 
ration and  the  required  furniture  and  furnishings  to  meet 
the  demand  for  very  simple  and  inexpensive  yet  beautiful 
homes,  grown  especially  insistent  since  the  great  war.  Mr. 
Percy  A.  Wells,  Head  of  the  Cabinet-making  department 
of  the  Shoreditch  Technical  Institute,  London,  had  designed 
furniture  for  a  Government  Cottage,  much  of  which  had  been 
made  for  the  "Housing  Schemes"  about  the  country.  He 
also  proceeded  with  the  devising  of  other  furniture,  still  of 
a  simple  and  intensely  practical  character  but  on  a  different 
plane,  and  through  his  kindness  and  that  of  the  manufact- 
urers a  substantial  display  of  these  interesting  painted 
pieces  is  shown.  For  here  we  have  a  pioneer  combination 
of  business-house,  artist  and  craftsman-designer.  Messrs. 
Oetzmann  &  Company,  Ltd.  erected  two  bungalow  cottages 
at  their  premises  in  Tottenham  Court  Road,  here  this  furni- 
ture was  displayed,  and  the  colour-schemes  were  designed  by 
and  carried  out  under  the  personal  direction  of  Mr.  Hall 
Thorpe,  R.  B.  A.  By  his  courtesy  joined  with  that  of  Messrs. 
Oetzmann,  a  colour-plate  is  given  of  the  living-room  of  one 
of  these  cottages  (Plate  29).  Pattern  is  here  dispensed  with 
and  colour  relied  upon  for  decoration.  The  colour-scheme  is 
built  up  upon  the  floor,  which  throughout  the  cottage  is 
covered  with  plain  grey  hair-carpet  or  felt.  The  body- 
colour  of  the  furniture  is  likewise  grey,  and  ft  is  these  large 
surfaces,  uniform  in  each  room  which  give  cohesion  to  the 


n6         THE  SMALL  HOUSE  AND  APARTMENT 

scheme.  In  the  living-room  the  walls  also  are  grey,  but  in 
other  rooms  there  is  a  variation  both  in  the  wall-colour  and 
that  selected  for  the  "trim"  of  the  furniture.  In  one  of  the 
bedrooms,  for  instance,  the  wall  surface  is  primrose  and  the 
picture-rail  and  mouldings  picked  out  with  mauve,  the  furni- 
ture being  decorated  in  grey  and  mauve  to  harmonise.  The 
remaining  rooms  of  this  cottage  are  treated  on  the  same 
principles  and  are  equally  charming.  The  same  idea  can  be 
developed  in  any  number  of  combinations  to  suit  the  indi- 
vidual taste.  In  one  of  the  rooms  in  the  other  cottage  the 
carpet  is  light  brown  and  the  furniture  also  brown,  picked 
out  with  orange  lines  and  chamfers.  Where  this  method  is 
provided  for  by  such  an  able  designer  as  Mr.  Thorpe  it  is  sure 
to  be  successful;  it  seems  also  to  be  possible  of  carrying  out 
by  an  intelligent  home-furnisher,  though  possibly  he  might 
find  his  decoration  easier  to  manage  if  the  walls  were  kept  of 
a  uniform  tone  throughout. 

Mr.  Thorpe  is  also  making  a  specialty  of  designing 
colour-prints  to  be  used  as  wall  decoration,  and,  as  these  are 
of  the  utmost  value  in  carrying  out  such  schemes  of  colour, 
it  is  a  pleasure  to  learn  that  Messrs.  Brown-Robertson  Co.  of 
New  York  have  been  appointed  American  agents  and  that 
these  prints  are  now  on  sale  by  them.  Mr.  Thorpe  has 
kindly  enabled  the  writer  to  make  small  reproductions  of 
two  prints  (Plate  30).  He  has  recently  also  done  some  of 
greater  size  and  elaborateness,  which  should  be  of  value  in 
houses  with  more  expensive  furnishings. 

In  the  cottages  mentioned  all  the  furniture  (Plates  31 
and  32)  was  designed  by  Mr.  Wells  in  proportion  to  the  size 
of  the  rooms,  the  principal  aims  being  moderate  cost  of 
production  consistent  with  sound  workmanship,  fitness  for 
purpose,  and  ease  in  moving  and  cleaning.  Painted  furniture 
offers  the  great  advantage  of  choice  of  colour.  The  chest  of 
drawers  is  in  grey  and  brown,  the  one  wardrobe  and  toilet- 


PLATE  29 


PLATE  30 


COLOUR-PRINTS  FOR  FRAMING 

DESIGNED  BY 
HALL  THORPE,   R.B.A., 

LONDON 

Brown-Robertson  Co.,  New  York 
American  Agents 


PAINTED   FURNITURE  DESIGNED   BY  PERCY  A.   WELLS 

of  the  L.  C.  C.  Shoreditch  Technical  Institute,  London 

FOR  OETZMANN  A  CO.,   LTD.,   LONDON 


Sideboard  in  Grey  and  Green 


Wardrobe,  Grey  and  Purple 


Wardrobe,  Blue  on  Green,  Combed 


PAINTED  FURNITURE  DESIGNED  BY  PERCY  A.   WELLS 
FOR  OETZMANN  A  CO.,   LTD.,   LONDON 


MODERN  FURNISHING,  INEXPENSIVE         117 

table  in  grey  and  purple,  the  writing-table  and  chair  grey  and 
green,  while  the  darker  wardrobe  is  in  blue  on  green,  combed. 
The  "waggon"  bevelling  along  the  top  of  the  writing-table 
allows  for  splashes  of  colour,  and  especially  to  be  noted  are 
the  swung  glasses  with  an  adjusting  strut  and  the  hat-cup- 
board in  the  chest  of  drawers. 

Specimen  rooms  with  this  furniture  have  been  set  up  at 
the  Institute  of  British  Art  and  Industries,  Knightsbridge, 
and  at  the  Whitechapel  Art  Gallery,  showing  the  effort  made 
to  interest  the  people  in  good  household  art. 

Mr.  Wells  has  also  issued  a  volume  on  "Furniture  for 
Small  Houses",  containing  many  illustrations  and  working- 
drawings  and  much  valuable  information  upon  the  subject. 
Through  his  courtesy  and  that  of  Messrs.  Oetzmann  and 
Company,  Ltd.,  who  manufacture  this  furniture  and  have  it 
on  sale,  the  writer  is  enabled  here  to  reproduce  the  pieces 
shown  on  Plates  31  and  32. 

Mr.  Ambrose  Heal,  of  Messrs.  Heal  and  Son,  Ltd., 
London,  is  a  prominent  designer  of  simple  furniture.  He  is 
contemplating  or  has  by  this  time  begun  mass  production, 
thus  supplying  a  very  desirable  line  of  admirable  pieces  for 
the  modest  householder.  He  is  also  an  eminent  designer  of 
more  elaborate  furniture,  with  entirely  individual  hand- 
painted  ornament  in  a  small  scale.  These  pieces  are  very 
charming  and  of  great  refinement. 

The  work  of  that  eminent  designer  of  furniture  the  late 
Ernest  Gimson  will  be  referred  to  later  on.  Mr.  P.  Waals, 
who  was  closely  associated  with  him  from  the  inception  of 
the  business  as  his  head  man,  is  carrying  on  the  shops  with 
the  same  force  of  craftsmen  at  nearby  Chalford,  and  by  the 
additional  judicious  use  of  machinery  is  increasing  the  prod- 
uct and  at  a  lower  price  than  that  required  for  exclusively 
hand-worked  pieces.  By  his  courtesy  the  writer  is  able  to 
show  furniture  designed  and  executed  by  him  (Plates  33  and 


u8         THE  SMALL  HOUSE  AND  APARTMENT 

34).  It  will  be  noted  that  the  ideals  of  this  establishment  are 
being  carefully  continued  and  the  beauty  of  craftsmanship  is 
readily  seen  in  the  two  plainer  pieces  as  well  as  in  the  more 
ornamental  cabinet. 

The  work  of  other  able  interior  architects  and  designers 
of  furniture  will  be  treated  in  the  second  and  third  sections. 
Let  us  now  proceed  to  additional  schemes  in  the  actual 
furnishing  of  small  premises  in  the  most  inexpensive  manner. 


PLATE  33 


A  CABINET  IN   EBONY 
DESIGNED  AND  MADE  BY  P.  VVAALS.  CHALFORD.  ENGLAND 


PLATE 


CHAPTER  II 

ACTUAL  FURNISHING  OF  THE  MOST  INEXPENSIVE 

CHARACTER 

THE  HALL 

AT  the  very  entrance  we  find  a  marked  difference  between 
the  small  house  and  the  apartment.    No  furnishing 
can  be  satisfactory  without  an  entire  realisation  of  the  pur- 
pose for  which  a  room  is  used,  and  in  these  two  sorts  of 
abode  the  Hall  plays  a  very  different  part. 

In  the  house  of  moderate  dimensions  the  usual  hall  is 
architecturally  and  practically  but  a  public  entrance  and  pas- 
sage to  the  rooms  beyond  and  to  the  stairway.  Particularly 
in  the  city,  the  doorbell  is  continually  rung  by  promiscuous 
people.  In  the  modern  apartment,  on  the  contrary,  packages 
and  messages  are  taken  in  at  the  office  or  by  the  elevator 
attendant,  the  names  of  callers  are  telephoned  up  in  advance. 
Where  there  is  janitor-service  only  the  conveniences  are  fewer, 
but  even  then  privacy  is  almost  complete,  and  the  hall,  while 
retaining  its  use  as  a  passage,  becomes  very  like  the  other 
rooms,  and  may  be  treated  nearly  as  intimately. 

In  any  case  the  hall  is  an  index  to  the  premises,  and  it 
will  not  fulfil  that  office  if  it  be  either  distinctly  handsomer 
or  meaner  than  the  remainder  or  if  it  be  incongruous  with  it. 

The  furniture  for  the  hall  of  the  small  house  should, 
because  of  its  purpose,  be  very  practical — an  umbrella  stand, 
a  hat-table  and  two  chairs,  with  the  addition  of  a  few  other 
pieces,  such  as  a  bench,  cupboard  or  chest,  if  there  be  suf- 
ficient room.  If  the  telephone  be  here  a  stand  and  chair  will 
be  convenient.  The  side-table  on  Plate  14  or  the  long  Daven- 
port table  on  Plate  17,  accompanied  by  mirror,  umbrella- 
stand  and  chairs  of  appropriate  design  from  the  same  stock 
would  be  excellent.  Telephone-sets  and  benches  are  also 
supplied  therein;  and  indeed  a  whole  house  may  be  furnished 

119 


izo         THE  SMALL  HOUSE  AND  APARTMENT 

from  this  stock  if  desired.  If  the 'floor  is  in  good  condition, 
either  a  runner  or  small  rugs  may  be  used;  if  it  is  not,  then 
the  tiled  or  Jaspe  linoleum,  mentioned  in  Part  IV,  are  worth 
considering. 

And  now  for  some  colour.  For  it  is  colour  that  gives 
distinction  to  such  interiors.  And  it  is  to  be  remembered 
that  in  beginning  with  the  hall  we  are  also  beginning  the 
furnishing  of  two  other  rooms  at  least — the  living-room  and 
dining-room — which  open  from  it.  Particularly  if  there  are 
guests,  one  scarcely  cares  to  have  a  messenger-boy,  for  in- 
stance, waiting  in  the  hall,  gaping  in  upon  them;  and  there- 
fore door-hangings  are  required.  These  may  of  course  be 
double,  showing  a  different  colour  upon  each  side,  but  this  is 
needless.  Alternatives  of  colour  arrangement  for  the  entire 
house  will  be  provided,  the  triad  plan  described  in  the  sec- 
tion on  colour-schemes  being  adopted. 

The  wonderful  array  of  textiles  now  available  both  in 
Europe  and  America  would  have  made  our  forefathers  sigh 
with  envy.  It  however,  occurred  to  the  writer  that  where 
prices  must  be  low  it  might  not  be  so  easy  to  secure  good 
colourings  as  where  the  latitude  is  greater,  and  that  this  would 
be  the  case  with  stripes  particularly.  In  order  to  be  sure 
that  any  colour-scheme  suggested  here  could  be  carried  out 
by  the  householder  without  difficulty,  the  writer  looked  into 
the  supply  in  his  own  city,  and  usually  found  a  fair  assort- 
ment of  inexpensive  goods  in  the  large  stores. 

He  furthermore  finds  all  that  is  necessary  for  this  fur- 
nishing in  the  well  known  "Colony"  and  "Canterbury" 
lines  (Marshall  Field  &  Company,  Distributors,  Chicago  and 
New  York)  so  that  anything  needed  may  easily  be  ordered  by 
dealers  in  case  they  do  not  happen  to  have  it  in  stock.  It  is 
absolutely  necessary  that  the  writer  should  be  specific  in  the 
first  furnishing  described,  for  it  is  not  only  the  choice  of  col- 
ours which  is  essential  but  the  degree  of  intensity  and  the 


PLATE  35 


ARRANGEMENT  OF  THIN   CURTAINS  WITH  VALANCE 

Curtains  of  below-the-sill  length  do  not  readily  blow  out  of  the  opened  window  and 

do  not  shrink  too  short 


PLATE  36 


MODERN  FURNISHING,  INEXPENSIVE         121 

tones,  of  these  colours.     Those  mentioned  here  are  of  middle 
intensity — neither  too  bright  nor  too  dull. 

There  are  also  very  desirable  denims,  casement-cloths 
and  sun-fast  materials  of  many  manufactures  in  the  various 
shops.  The  solid-colour  denims  with  small  designs  in  the 
weave  make  excellent  coverings  for  the  seats  of  chairs  and 
settees.  It  is  a  mistake  to  suppose  that  nothing  can  be 
attractive  unless  it  is  expensive.  Such  materials  as  those 
mentioned  here  are  decidedly  smart  and  tasteful  when  the 
right  colourings  are  chosen.  We  shall  begin  with  the  triad 
of  modified  yellow,  red,  and  blue. 

It  is  to  be  understood  that  these  details  are  suggestive 
and  not  obligatory  in  any  way.  It  is  necessary  to  be  concrete 
in  order  to  explain  the  plan  in  full;  when  that  is  understood 
it  will  be  realised  that  changes  in  details  may  easily  be  made. 

Blue  is  a  good  general  colour  for  hangings,  and  a  heavy 
ribbed  rep  is  one  of  the  best  materials  in  this  scale  of  fur- 
nishing. (Such  a  rep  in  a  medium  shade  of  blue,  not  too 
bright,  and  darkish  rather  than  light,  45  inches  wide,  is 
found  among  the  "Canterbury"  fabrics  No.  1708). 

For  windows  there  is  nothing  more  charming  through- 
out the  whole  small  house  than  ruffled  white  muslin  curtains. 
These  are  bought  ready  made,  and  so  are  also  most  conven- 
ient. They  are  of  good  length,  and  when  the  windows  are 
short  the  pieces  cut  from  the  top  may  be  made  into  valances. 
Plate  35  shows  the  proper  arrangement  of  thin  curtains. 
If  heavy  inside  curtains  are  also  to  be  used  these  should 
usually  be  of  the  same  rep  as  the  door-hangings. 

5  Ready-made  floss  cushions  are  also  to  be  bought  in  vari- 
ous sizes.  Obtain  these  for  the  chairs  and  cover  them  with  the 
striped  covering  shown  in  Plate  36  lower  left.  Thi-s  is  of  a 
greenish  linen  shade  with  bold  stride  of  mulberry-rose  edged 
with  deeper  shade  of  the  same.  The  three  colours  are  already 
established.  If  there  is  a  bench  a  long  cushion  may  be  made 


122         THE  SMALL  HOUSE  AND  APARTMENT 

and  covered  with  a  solid  colour  mulberry-rose  rep  with  the 
stripe  just  mentioned  (there  is  a  mulberry-rose  rep  in  the 
same  line  as  the  blue.)  But  if  the  bench  is  placed  at  the 
window  and  blue  curtains  are  there  used  then  the  bench- 
cushion  should  be  blue. 

The  wall  of  a  narrow  hallway  is  subject  to  considerable 
wear;  so,  if  desired,  it  may  be  given  a  dado  of  warm  grey, 
darker  than  the  wall  and  three-eighths  of  the  wall  height, 
of  either  paint  or  paper  according  to  the  existing  surface,  and 
this  banded  broadly  at  the  top  with  black. 

If  a  further  decorative  touch  be  desired  a  small  hanging 
may  be  placed  back  of  the  mirror  over  the  table.  There  is 
a  "Colony  Furniture  Covering"  No.  1697,  in  quiet  dark 
blue  and  tan  in  a  very  good  design,  and  another  in  two  shades 
of  soft  brownish  fawn.  The  furniture  might  be  in  the  fumed 
oak  or  one  of  the  dark  shades. 

The  alternative  triad  is  violet,  blue-green  and  orange, 
or  approximate  tones  of  these.  The  striped  goods  at  upper 
right  on  Plate  36  has  a  ground  of  deep  linen  colour  with  broad 
stripe  of  dusky  violet  and  inside  edging  of  blue-green.  This 
may  be  used  for  the  chairs  and  bench.  The  door  hangings 
might  be  a  combination,  and  in  the  "Colony  Furniture  Cov- 
erings" referred  to  just  above  there  is  one  of  brownish  violet 
and  grey  which  goes  beautifully  with  the  stripe. 

A  quaint  formality  may  be  given  such  a  hall  by  a  couple 
of  stiff  little  bay-trees  in  painted  pots  or  square  boxes.  In 
the  first  scheme  pure  white  with  band  at  top  and  bottom 
of  deep  rose  will  contrast  with  the  green  of  the  trees.  In  the 
second,  white  and  bright  orange. 

With  the  abundant  plain  surface  of  a  quiet,  light,  warm 
grey  wall  the  striped  materials  will  not  be  found  to  give  so 
bright  an  effect  as  might  be  supposed,  but  if  one's  taste  is 
very  quiet  then  solid  colour  goods  may  be  substituted  for 
the  stripes.  These,  however,  give  much  distinction  and  very 


MODERN  FURNISHING,  INEXPENSIVE         123 

little  of  this  material  has  been  prescribed;  so  that  their  use 
should  by  no  means  lightly  be  foregone. 

In  apartments  the  same  colourings  may  apply,  but  the 
furniture  and  furnishings  may  be  very  different  and  much 
more  intimate.  There  should  be  the  usual  table  and  chairs 
on  which  callers  may  lay  hats  and  outer  garments.  Instead  of 
a  stiff  bench  a  settee  with  cushions  may  find  its  place;  book- 
cases and  highboys,  cabinets,  and  the  like  are  quite  in  order. 
In  the  former  hall  the  usual  light  is  perhaps  a  hanging  lantern 
or  bulb-fixture  covered  with  silk;  here  an  attractive  lamp 
upon  a  small  table  will  be  excellent.  Pottery,  plaques,  candle- 
sticks, and  a  very  few  good  pictures  add  the  decorative  touch. 

The  architectural  hat-and-clothes  rack  is  a  thing  of  the 
past  in  any  hall,  but  if  possible  there  should  be  some  facility 
provided  for  heavy  wraps.  In  the  house  there  is  usually  a 
closet  or  recess  under  the  stairway  and  the  latter  should  be 
curtained.  Apartments  are  very  various  in  their  arrange- 
ment and  so  there  is  no  rule.  Sometimes  such  garments 
may  necessarily  have  to  be  taken  into  the  bedrooms,  but 
frequently  there  is  some  sort  of  out-of-sight  corner  or  recess 
which  may  be  curtained  off,  or  where  one  of  those  small 
affairs  of  hanging  framed  mirror  with  a  few  hooks  may  be 
placed  without  disturbance. 

THE  LIVING-ROOM 

The  appropriate  character  of  living-room  furniture, 
both  oak  and  mahogany,  for  inexpensive  furnishing  has  al- 
ready been  indicated  in  the  previous  chapter.  In  either  case 
the  paint-pot,  whether  professional  or  amateur,  may  fre- 
quently be  an  added  advantage;  that  is  to  say,  a  few  painted 
pieces  will  give  relief  to  those  of  the  natural  woods. 

These  pieces  may  be  ordered  in  the  colour  desired,  or 
may  be  bought  unfinished  and  painted  by  the  householder, 
if  he  is  thoroughly  competent  to  do  the  work.  Plates  3 1  and 


124         THE  SMALL  HOUSE  AND  APARTMENT 

32  will  give  him  hints.  Occasionally  some  articles  of  furni- 
ture in  the  possession  of  the  family  may  be  just  what  is 
needed,  and  these  may  be  painted  at  home  or  by  a  house- 
or  coach-painter.  The  colouring  of  such  pieces  will  be  con- 
sidered in  the  general  scheme  now  to  follow. 

No  facility  should  be  overworked,  but  a  moderate  use 
of  stripes  in  two  rooms  of  the  home  will  not  be  too  frequent 
an  employment,  and,  in  addition  to  those  in  the  hall,  we  may 
therefore  choose  them  for  either  the  living-room  or  the  din- 
ing-room as  preferred.  Good  combinations  in  inexpensive- 
goods  are  by  no  means  easy  to  obtain — and  so  because  of 
their  infrequency  are  all  the  more  individual  and  desirable. 
Plate  36  shows,  at  the  lower  right,  bold  stripes  of  blue  and 
buff-yellow  with  a  narrow  stripe  of  green.  The  blue  is 
rather  brighter  than  that  of  the  door-hangings  but  well 
accompanies  it.  The  settee  ancl  large  easy  chairs  may  be 
covered  in  the  blue  rep  of  the  door-hangings  or  in  a  similar 
shade  of  medium  blue  denim.  The  manufacturers  of  the 
settee  shown  in  Plate  14  supply  denim  covering  as  well  as 
the  leather  illustrated,  and  no  doubt  send  samples  from 
which  to  choose.  One  of  the  small  self-figured  blues,  which 
would  accord  in  colour  with  the  door-hangings,  would  be 
attractive.  The  pillows  and  cushions  for  the  side  chairs 
would  be  of  the  striped  goods  if  used  in  this  room. 

If  stripes  are  not  used  then  the  coverings  had  better  be 
of  the  deep  mulberry  rose,  and  an  old  gold  and  linen  figured 
fabric  that  would  make  attractive  covers  for  pillows  and 
side  chairs  is  to  be  found  in  "Canterbury  Kenton  Furniture 
Covering."  This  is  54  inches  wide.  A  rug  containing  old 
gold  or  deep  tan  would  then  continue  the  yellow  note. 

Another  combination  would  be  the  mulberry-rose  settee- 
covering  and  the  same  stripe  for  pillows  and  side  chairs  as 
used  in  the  hall,  the  two  mulberrys  precisely  accompanying 
each  other. 


MODERN  FURNISHING,  INEXPENSIVE         125 

If  the  blue  is  chosen,  strong  buff-yellow  appears  in  the 
stripe  but  the  modified  red  of  the  triad  is  lacking.  Braided 
or  rag  rugs  in  which  some  shade  of  rose  is  prominent  may  be 
chosen,  or  a  rug  with  a  rose  border.  The  lamp-shade  may  be 
of  rose  silk  and  there  may  be  other  accessories  containing 
the  hue,  such  as  a  vase,  or  a  white  or  grey  vase  holding  the 
attractive  artificial  Japanese  cherry-blossoms,  which  may  be 
bought  at  oriental  or  department  stores.  Brass  or  glass  can- 
dlesticks with  square  rose  candles  might  also  find  their  place. 
Good  table-runners  may  be  made  of  heavy  linen  crash,  and 
these  might  have  a  broad  band  applique  of  either  rose,  blue 
or  buff-yellow  sewed  across  near  each  end,  the  colour  chosen 
being  that  found  to  be  most  wanting  in  the  room. 

The  manner  of  introducing  a  lacking  colour  by  the  use  of 
accessories  is  shown  in  Plate  2.  In  that  interior  there  are  no 
large  surfaces  of  modified  yellow,  yet  tones  of  that  colour 
are  carried  through  the  room  by  this  means. 

As  the  living-room  is  likely  to  be  larger  than  the  others  it 
will  be  well  to  break  the  wall-space  by  a  hanging  and  mirror. 
These  may  be  placed  over  a  console,  a  low  chest-of-drawers, 
or  book-case,  or  over  an  ordinary  table  as  also  in  Plate  2. 
The  old  gold  "Kenton  Covering"  previously  mentioned 
would  be  good,  or  another  with  small  figure  in  purplish 
mulberry  and  linen  colour  ("Colony  Furniture  Cover"  No. 
1702,  Marshall,  Field  &  Company,  distributors). 

The  pictures  by  Mr.  Hall  Thorpe  of  London  (Plate  30) 
will  have  been  noticed.  As  was  mentioned  in  the  section 
on  English  Furniture  these  were  designed  by  him  especially 
for  this  Modern  furnishing.  The  backgrounds  are  black  and 
the  vases  and  flowers  in  bright  attractive  colouring,  with 
white  margins.  Narrow  black  frames,  matching  the  back- 
ground, may  be  used,  or  the  frames  may  be  painted  in  one 
of  the  dominant  colours  of  the  picture,  which  should  also  be 
one  of  those  of  the  room.  Unless  he  possesses  a  good  knowl- 


126         THE  SMALL  HOUSE  AND  APARTMENT 

edge  of  art  the  usual  householder  finds  pictures  one  of  his 
worst  stumbling-blocks,  so  that  these  decorative  and  unusual 
prints  will  be  a  great  aid  in  his  furnishing. 

An  alternative  scheme  was  given  for  the  hall  in  the  triad 
of  modified  violet,  orange,  and  green,  and  this  will  also  be 
carried  through  the  other  rooms. 

The  door-hanging  there  suggested  was  of  brownish  violet 
and  grey,  so  that  in  the  living-room  we  begin  with  this  already 
established.  Admirably  accompanying  this  is  the  stripe  at 
the  upper  right  of  Plate  36.  As  before,  these  strongly  con- 
trasting materials  should  be  used  on  but  a  few  side  chairs 
and  for  settee  cushions.  The  covering  of  the  settee  itself 
and  large  chairs  would  best  be  of  a  rep  or  denim  matching 
the  dusky  violet  of  the  striped  goods.  With  these  the  pil- 
lows may  be  of  an  orange-tan  and  the  wall-hanging  of  the  old 
gold  previously  mentioned.  The  rug  may  be  tan.  In  order 
to  introduce  more  green  a  couple  of  seating-stools  may  be 
cushioned  with  a  solid-colour  material  of  the  same  green  as 
the  stripe.  The  beautiful  breakfast-room  suite  illustrated 
in  Plates  90  and  91  shows  chair-cushions  attached  as  these 
may  be.  A  heavy  cord  would  be  sewn  around  the  edge  of 
the  cushion,  with  cord  and  tassels  at  each  corner. 

This  brings  us  to  the  colour  of  the  stools  themselves;  for 
these  are  among  the  pieces  which  may  be  painted  to  afford 
relief.  In  addition  to  these  a  console  table  or  wicker  arm- 
chairs might  also  have  the  benefit  of  colour. 

With  any  of  the  combinations  the  stools  might  be  lac- 
quer-black and  the  broad  ridge  around  the  back  and  down 
the  arms  of  the  wicker  chairs  the  same,  the  remainder  of  the 
chairs  being  left  the  natural  colour.  In  the  present  case  the 
cords  and  tassels  might  be  either  green  or  black,  or,  if  more 
colour  is  preferred,  then  of  the  dusky  violet. 

If  the  console  be  a  light  table  that  also  may  be  of  the 
lacquer-black,  but  if  a  cabinet-piece  then  it  should  be  re- 


PLATE  37 


MODERN  FURNISHING,  INEXPENSIVE          127 

lieved  by  striping  the  edges  either  green  or  tan.  Buff  or 
fawn  relieved  with  green  or  dull  violet  would  also  be  good. 
Either  colour  with  the  same  trim  would  then  be  used  for 
the  stools. 

In  the  event  of  the  previous  triad  being  chosen,  grey, 
buff,  or  fawn  relieved  with  blue,  or  grey  or  fawn  relieved  with 
rose  would  be  in  order.  Black  could  be  relieved  with  buff, 
rose  or  blue. 

In  "The  Practical  Book  of  Interior  Decoration"  another 
mode  of  carrying  a  colour-scheme  through  the  premises  was 
suggested.  This  was  the  use  of  a  quiet  derivation  of  yellow 
as  the  background,  other  colours  being  used  in  the  various 
rooms  as  relief;  and  it  is  exemplified  in  Plate  37,  illustrating 
the  living-room  and  dining-room  of  a  modern  bungalow. 
This  interior  also  shows  that  such  simple  and  practical  fur- 
nishing is  attractive  and  homelike.  If  a  quiet  rug  had  been 
employed  it  would  not  only  have  been  more  restful  but  would 
have  possessed  greater  style.  The  floor  here  is  Jaspe  light 
brown  linoleum,  and  the  effect  is  excellent  in  combination 
with  the  light  tan  walls  and  dark  furniture. 

With  this  background  practically  all  colours  look  well, 
so  that  for  the  various  rooms  a  choice  may  be  made  for  the 
hue  of  the  textiles  from  such  tones  as  greyed  blues,  old  gold, 
quiet  violet,  apple  green,  burnt  orange,  plum,  and  the  like. 
Combinations,  in  the  forms  of  stripes,  chintzes  and  printed 
linens,  may  also  be  used  and  accessory  objects  will  be  an  aid 
here  as  elsewhere.  Where  rooms  communicate  with  a  wide 
opening,  as  in  this  bungalow,  the  most  noticeable  hue  (in  this 
case  bright  green)  should  prevail  in  both.  Rose  chair-seats 
might  be  adopted  in  one  bedroom,  blue  in  another  and  old 
gold  or  burnt  orange  in  still  another  and  the  tan  background 
would  preserve  unity;  or  the  material  used  might  of  course 
combine  some  of  these  hues. 


128         THE  SMALL  HOUSE  AND  APARTMENT 

THE  DINING-ROOM 

This  illustration  brings  us  to  the  dining-room,  and  also 
to  the  question,  Need  there  be  a  dining-room? 

Of  late  years  quite  a  movement  towards  its  abolishment 
has  developed;  or  at  least  dispensing  with  the  dining-room 
under  many  conditions,  especially  in  small  houses  and  apart- 
ments of  even  considerable  pretensions.  The  writer  has 
heard  of  an  architect's  home  in  which  the  fully-set  table  is 
wheeled  through  wide  doors  from  the  pantry  and  wheeled 
out  again  when  the  meal  is  done. 

While  dining-rooms  are  usually  desirable,  circumstances 
do  exist  in  which  they  are  a  waste  of  room  which  might  per- 
haps be  more  advantageously  employed,  and  the  architec- 
ture of  the  bungalow  just  referred  to  suggests  a  possible 
instance.  If  a  family  is  of  fair  size  the  retention  of  a  room  for 
this  special  purpose  is  almost  necessary,  but  with  newly- 
married  people  not  entertaining  largely,  or  when  children 
have  grown  up  and  have  homes  of  their  own  and  all  space 
counts  in  the  family  economy,  then  other  arrangements  will 
answer  admirably. 

Some  small  families  badly  lack  one  more  room  that  may 
be  applied  to  a  number  of  uses — a  man  wishes  to  work  over 
papers,  books,  accounts  or  drawings,  a  woman  has  her  sew- 
ing or  her  household  budget.  If  the  living-room  is  neces- 
sarily so  employed  a  chance  visitor  is  likely  to  arrive  just 
when  the  work  is  spread  about  and  the  room  in  more  or  less 
disorder.  Taking  the  instance  of  this  bungalow,  the  rear 
room  might  then  be  used  as  a  combination  sitting-sewing- 
library-dining-room  and  yet  still  ordinarily  remain  an  exten- 
sion of  the  living-room,  heavy  curtains  being  supplied  at  the 
opening  for  use  in  emergency.  A  desk,  tables,  book-case,  or 
cabinet  should  be  here,  and  the  sewing-machine  may  go 
behind  a  screen  in  a  corner.  A  gate-leg  or  drop-leaf  table 
may  be  used  for  meals  and  set  against  the  wall  at  other  times. 


MODERN  FURNISHING,  INEXPENSIVE         129 

In  the  country-house  in  summer  a  table  may  be  spread 
on  a  porch  or  terrace  or  in  a  sun-room;  indeed  this  is  largely 
done  in  England  where  outdoor-living  prevails  to  an  extent 
that  might  advantageously  be  adopted  in  other  countries. 

Dining-alcoves  are  another  resource  and  these  may 
often  be  arranged  in  apartments.  After  all,  little  furniture 
is  really  require^  but  table  and  chairs,  as  linen,  dishes  and 
silver  may  readily  find  storage  space  near  at  hand. 

The  whole  matter  therefore  resolves  itself  into  a  question 
of  which  arrangement  is,  upon  the  whole,  most  convenient — 
and  which  is  the  greatest  saving  of  labour  to  the  woman  of  the 
house.  This  last  consideration  is  usually  indeed  the  last  to 
be  considered;  women  being  notoriously  unsparing  of  them- 
selves and  their  own  physical  welfare.  When  the  subject  of 
kitchens  is  reached,  in  the  latter  part  of  this  book,  the  writer 
will  fulminate  largely  upon  this  subject  and  give  evidence 
that  there  is  at  least  one  writer  who  has  regard  to  womankind 
when  she  herself  has  no  mercy  upon  her  own  physical  frame. 

It  having  been  decided  upon  that  there  shall  be  a  din- 
ing-room how  shall  it  be  furnished  ?  The  bungalow  is,  again, 
a  good  example  of  the  usual  arrangement  with  oak  furniture 
and  an  ornamental  screen.  The  sideboard  is  here  pleasantly 
free  from  the  bar-room  display  of  glassv/are  and  the  like, 
only  too  frequent  in  American  homes. 

But — common-sense  and  independence  may  have  some- 
thing to  say  here  to  the  intelligent  furnisher  of  considerable 
means  as  well  as  one  who  must  economise.  We  frequently 
find  persons  spending  much  good  money  for  a  sideboard  and 
then  wondering  what  they  are  going  to  do  with  an  excellent 
chest  of  drawers  for  which  they  have  no  place !  Why  a  side- 
•  board,  then?  Will  the  chest  of  drawers  not  answer  quite 
as  well?  It  will  afford  more  storage  space,  its  top  will  deco- 
rate with  equal  attractiveness,  and  the  householder  will 
have  shown  some  individuality. 


130         THE  SMALL  HOUSE  AND  APARTMENT 

Or  why  not  a  side-table,  as  in  Chippendale's  time?  Linen 
and  table-ware  may  go  in  a  presentable  cupboard  or  a  closet. 
After  all,  what  is  the  use  of  a  sideboard  ?  Principally  as  afford- 
ing attractive  wall-furnishing  when  the  chairs  are  grouped 
about  the  table,  for  many  of  them  have  little  storage  space. 

This  same  principle  of  substitution  may  be  of  value  else- 
where than  in  the  dining-room,  and  when  we  reach  the  highest 
development  of  this  mode  we  shall  see  that  the  manufacturers 
of  expensive  furniture  are  availing  themselves  of  it. 

Returning  to  the  furnishing  of  the  dining-room  with  its 
usual  pieces  reference  is  made  to  the  room  designed  by  Mr. 
Shirley  Wainwright  of  London  illustrated  in  colour  in  Plate  8. 
Where  the  services  of  such  an  able  interior  architect  are 
possible  to  the  householder  one  is  sure  of  a  result  that  will  be 
individual  and  of  great  charm. 

There  are  two  further  suggestions  which  may  be  made 
by  the  present  writer,  either  of  which  will  provide  an  attrac- 
tive and  practical  room. 

The  first  is  the  use  of  a  breakfast-room  set,  such  as  those 
illustrated  in  Plates  18  and  21.  That  in  Plate  21  may  be 
either  in  the  Japanese  decoration  or  the  old  mahogany  finish 
where  mahogany  furniture  is  chosen.  The  furniture  in  Plates 
19  and  20  is  also  appropriate  for  the  latter  purpose.  The 
lower  set  on  Plate  18  in  walnut  and  ivory  would  go  well 
with  oak  furniture  elsewhere  used,  or  could  be  chosen  in  soft 
French  grey.  The  decorations  in  either  case  supply  some 
colour,  and  these  tones  should  be  regarded  and  made  a  key- 
note for  the  other  hues  of  the  room  or  as  supplementary  to 
the  main  colour-scheme.  Following  the  triad  first  provided, 
we  already  have  the  darkish  blue  hangings  at  the  doors  and 
these  are  likely  to  accord  with  the  small  quantities  of  colour 
used  in  these  decorations,  whatever  they  may  be.  Special 
attention  should  be  paid  to  the  few  objects  employed,  such  as 
bowls  and  candlesticks;  and  these  should  be  attractive  and  in 


MODERN  FURNISHING,  INEXPENSIVE          131 

the  best  taste,  even  though  inexpensive.  It  is  often  surprising 
for  how  little  money  good  shapes  and  colourings  may  be  pur- 
chased at  oriental  shops,  and  indeed  at  the  more  unusual  places 
where  the  householder  would  not  expect  to  find  low  prices. 

The  other  plan  is  the  use  of  oak  or  mahogany  furniture, 
as  the  case  may  be,  in  combination  with  decorative  pieces. 
The  sideboard  and  table  may  be  of  the  natural  wood — sev- 
eral guiding  examples  were  given  in  the  previous  chapter  on 
furniture,  etc. — and  the  chairs  might  well  be  the  Webster 
side  chairs  shown  in  Plate  16.  These  may  be  in  the  brilliant 
black  with  decorations,  as  these  illustrated,  or  in  a  dark  blue, 
which  should  accord  with,  though  not  necessarily  match,  the 
door  hangings.  In  ordering  any  furniture  painted  in  colour 
a  sample  of  precisely  the  colour  the  furniture  is  to  be  should 
be  forwarded  with  the  order.  If  it  is  decided  that  the  chairs 
in  this  instance  shall  be  blue,  then  a  sample  of  the  rep  to  be 
used  for  the  door-hangings  should  first  be  secured  and  a 
tone  of  blue  mixed  up  in  oil-colour  properly  to  accompany  it. 
As  just  mentioned  it  may  be  lighter  or  darker  if  preferred, 
but  it  should  accord  with  the  hangings  already  decided  upon. 
It  should  also  agree  with  whatever  fabric  is  employed  for  the 
chair  cushions.  It  will  presently  be  suggested  that  in  this 
case  it  be  one  of  the  stripes,  and  if  a  blue  occurs  among  them 
then  the  blue  of  the  chairs  should  be  one  that  will  properly 
accord  with  that  as  well. 

This,  naturally,  is  the  rule  to  be  observed  in  all  such  com- 
binations of  painted  furniture  with  textiles. 

For  these  chairs  make  cushions  covered  with  either  of 
the  stripes  previously  mentioned,  using  cord  and  tassels,  or 
simply  tapes  of  an  appropriate  shade  at  two  corners,  tied 
around  the  back-supports  of  the  chairs.  With  the  sideboard 
ornaments  there  will  now  be  abundant  colour,  so  that  a  grey 
or  quiet  tan  rug  will  be  found  most  appropriate. 

Another  colour  for  the  chairs  would  be  a  canary  yellow 


132         THE  SMALL  HOUSE  AND  APARTMENT 

with  cushions  of  the  darkish  blue  rep  to  match  the  hangings. 
Grey  rug,  yellow  chairs,  and  these  hangings  would  go  admir- 
ably together.  Pongee-colour  or  yellow  casement-cloth  or 
sunfast  curtains  could  be  used  at  the  windows  in  addition  to 
the  white  curtains  next  the  sash.  There  should  now  be  some 
little  modified  red,  but  it  will  have  to  be  carefully  chosen  to 
agree  with  this  scheme — a  very  soft  mulberry  or  neutralised 
rose  in  small  objects  such  as  pottery  or  porcelain  candlesticks. 
Beaten  brass  bowls  or  dark  blue  pottery  or  porcelain  would 
beautifully  accompany  either  oak  or  mahogany. 

In  all  rooms  of  the  house  or  apartment  it  will  be  advan- 
tageous to  use,  where  possible,  objects,  which  perhaps  may 
already  be  in  one's  possession,  of  any  of  the  more  neutralised 
tones — such  as  citron,  slate,  russet,  soft  sage-  or  apple-greens 
and  fawn,  in  addition  to  the  stronger  hues,  when  they  will 
harmonise,  so  as  to  give  variety  and  prevent  anything  like 
an  arranged  appearance. 

Where  the  alternate  harmony  of  violet,  green,  and  orange 
is  preferred  to  the  first,  we  already  have  at  the  doors  the 
hangings  of  brownish  violet  and  grey,  and  may  use  for  the 
chair-seats  the  stripe  mentioned,  if  it  is  not  employed  in  the 
living-room.  If  they  are  to  be  of  solid  colouring  this  could 
be  green,  and  the  orange  note  introduced  by  bowls,  vases, 
and  shades  for  the  lights.  The  rug  might  be  dusky  violet, 
grey,  or  tan. 

WOMAN'S  BEDROOM 

On  the  second  floor  a  change  in  the  doorhangings  may 
be  made,  thus  giving  variety,  and  in  the  special  room  of  the 
lady  of  the  house  refinement  may  be  the  dominant  note. 
.  The  advantage  of  this  system  we  have  been  pursuing  is  its 
capability  of  various  application  while  preserving  unity,  and 
one  of  its  features  is,  that  while  the  three  colours  are  used  as 
a  base  in  each  room,  the  quantities  of  each  may  be  changed 
and  the  hues  may  be  differently  placed. 


MODERN  FURNISHING,  INEXPENSIVE         133 

•  In  this  room,  then,  let  the  mulberry-rose  be  decidedly 
the  dominant.  It  is  in  itself  a  beautiful  tone  and  may  go 
both  at  the  doors  and  at  the  windows  as  overcurtains.  A 
most  harmonious  interior  will  be  afforded  by  choosing  a  rug 
of  soft,  warm  grey  that  will  accord  with  the  walls,  but  of 
deeper  shade,  and  employing  furniture  enamelled  old  ivory. 
All  the  styles  shown  on  Plates  22  and  23  are  good  for  this 
purpose,  either  decorated  or  in  the  plain  enamel.  It  is  not 
difficult  to  introduce  a  little  soft  blue  in  the  seat  of  a  chair  or 
two,  or  a  piece  of  pottery  and  a  couple  of  books  so  bound, 
while  a  modified  yellow  may  come  into  the  scheme  in  a 
champagne  silk  for  the  lamp-shade  and  brass  candlesticks 
with  cream  or  champagne-coloured  candles. 

The  alternate  plan  may  be  carried  out  with  the  old  ivory 
furniture,  mauve-violet  curtains,  rose  or  a  modified  orange 
lamp-shade,  seats  of  either  soft  tan  or  green.  If  the  seats  are 
tan  the  rug  may  be  green,  and  vice  versa. 

Coloured  bedspreads  often  are  a  decorative  advantage, 
but  they  should  be  considered  a  resource  rather  than  an 
obligation.  Certain  it  is  that  in  many  rooms  the  pure  white 
bed  is  more  appropriately  beautiful  than  any  other  effect 
that  could  be  devised.  Striped  white  coverings  will  be  found 
more  attractive  than  the  usual  flowered  counterpane. 

MAN'S  BEDROOM 

As  this  room  should  be  virile,  use  for  it  dark  oak — 
Early  English  or  dark  brown  stain — or  mahogany  furniture 
if  employed  elsewhere  as  well.  At  the  door  there  will  be  the 
hanging  of  mulberry;  to  accompany  this  let  the  chair  seats 
be  the  good  strong  block  of  mulberry  shown  in  Plate  55.  A 
rug  of  deep  blue  will  go  here,  and  champagne  lamp-shade. 

This  room  will  be  as  man-like  as  the  woman's  room  is 
refined,  yet  they  will  harmonise  each  with  the  other. 

A  boy's  room  should  have  similar  strong  characteristics. 


134        THE  SMALL  HOUSE  AND  APARTMENT 

THE  YOUNG  GIRL'S  ROOM 

It  is  not  difficult  to  provide  here  a  charming  retreat,  very 
different,  it  will  be  found,  from  the  conventional  rooms  of  her 
friends.  And  here  again  is  there  a  great  variation  in  fabrics 
and  colouring  from  all  the  rooms  previously  provided  for. 

Reference  to  Plate  38  will  show  a  printed  linen  from 
France,  a  design  in  linen-white  on  grey-blue  background, 
with  notes  of  tan-brown  and  dark  brown.  This  textile  is 
more  expensive  than  those  before  mentioned,  but  it  will  be 
worth  saving  a  little  pocket-money  for  its  purchase.  Use  this 
for  the  over-curtains  at  the  windows  and  also  as  presently 
described.  Have  the  furniture  of  oak  stained  the  silver-grey, 
using  a  slat  bedstead  such  as  that  shown  in  Plate  15.  On  the 
wall  at  the  head  of  the  bedstead  place  a  hanging  of  the  same 
linen,  its  top  being  something  like  6^4  feet  from  the  floor — 
according  to  the  best  appearance  considering  the  height  of 
the  room  .and  the  headboard — and  let  it  hang  down  behind 
the  slats,  to  which  it  will  afford  an  excellent  background. 
The  chair  cushions  may  be  made  of  the  "Elwood  Chintz" 
in  corn  and  linen-colour  with  narrow  stripe  of  pale  blue 
(Plate  36).  At  the  door  of  this  room  use  a  linen  crash  or 
some  other  material  of  about  this  tone.  The  harmony  now 
being  of  soft  blues,  greys,  and  buffs,  the  rose  note  should 
be  introduced  very  sparingly,  and  it  should  be  as  modified  in 
comparison  as  is  the  other  colouring.  A  simple  design  of 
applique  of  this  soft  rose,  or  a  wide  band  near  the  foot,  may 
be  sewed  upon  the  door  hanging,  and  the  same  colour  used 
upon  the  top  of  the  dressing-table  or  bureau.  The  lamp- 
shade would  better  be  champagne  or  buff,  and  the  bedspread 
of  white,  striped. 

It  is  possible  also  to  use  the  triad  of  violet,  green  and 
orange  and  preserve  the  requisite  atmosphere  of  quiet 
charm,  provided  modified  tones  of  these  hues  are  selected 
(see  Frontispiece). 


MODERN  FURNISHING,  INEXPENSIVE         135 

This  method  of  securing  unity  having  been  carried 
through  a  number  of  rooms  showing  great  variety  of  treat- 
ment and  with  the  use  of  inexpensive  materials,  the  principle 
will  now  be  evident.  It  is  by  no  means  necessary  therefore 
that  the  home-furnisher  should  literally  follow  these  details 
in  each  room,  for,  the  plan  being  mastered,  many  variations 
may  be  introduced.  Furthermore,  the  scheme  is  equally 
adaptable  to  either  very  quiet  or  stronger  colouring  as  indi- 
vidually may  be  preferred. 


PARTICULARS  AND  MATERIALS  APPLICABLE  TO 
ANY  SCALE  OF  FURNISHING 

THE  general  principles  of  furnishing  have  been  most 
carefully  elucidated  and  practically  applied  to  inex- 
pensive interiors  in  the  previous  portions  of  the  volume. 
This  now  seems  the  appropriate  place  to  expand  somewhat 
in  the  direction  of  additional  hints  and  the  mention  of 
materials  valuable  in  our  procedure,  and,  in  order  to  avoid 
repetition,  to  include  elements  and  suggestions  applicable  to 
all  scales  of  furnishing. 

It  is  to  be  mentioned  that,  owing  to  the  many  various 
characteristics  of  rooms  and  their  occupants,  only  the  main 
articles  and  their  colourings  could  be  provided  for  in  Section 
I.  As  intimated,  it  is  desirable  to  accompany  these  with 
objects  of  more  neutralised  tones  in  the  subsidiary  things 
necessary  to  our  daily  life.  Stronger  accents,  when  desired, 
may  be  introduced  in  the  same  manner. 

Much  aid  is  given  in  both  these  directions,  in  addition 
to  the  joy  of  colour  which  they  afford,  by  objects  and  fabrics 
of  composite  hues. 

It  may  have  been  noticed  that  in  the  scheme  just  pro- 
vided cretonne  found  no  place!  That  material  is  a  valuable 
asset — but  so  woefully  overworked!  It  was  quite  worth 
while  showing  that  a  house  or  apartment  could  be  furnished 
without  its  aid  and  be  more  individual  that  if  it  had  been 
employed.  The  writer  does  not  wish  to  be  considered  as 
belittling  cretonne  and  chintz;  his  point  is  that  when  it  is 
used  the  more  unusual  designs  and  hues  should  be  selected  in 
order  to  avoid  the  commonplace.  Nor  does  this  mean  that 
they  must  necessarily  be  "stunning",  for  many  of  the  most 
beautiful  are  in  odd,  soft  tones  and  of  refined  design. 

The  printed  linens  and  other  fabrics  are  often  still  more 
desirable,  and  the  patterns  are  not  only  of  the  utmost  variety 
but  are  very  different  from  the  cretonnes  (see  Plates  37A-4O, 

136 


PLATE  37  A 


Background  of  quiet  bluish  green,  medallion  black,  figures,  etc.  in  rose-red,  tan,  cream,  and 

other  tones 
Full  width  shown 

PLATES  37A-40 
FRENCH   PRINTED   LINENS 

Desfosse  &  Karth,  Paris 

A.  L.  Diament  A  Co.,  Philadelphia  and  New  York 
American  Agents 

Some  of  these  linens  are  also  made  in  other  colourings 


PLATE  38 


PLATE  39 


PLATE 


PARTICULARS  AND  MATERIALS  137 

46  and  47,  and  55).  All  these  textiles  are  valuable  in  fur- 
nishing not  only  for  their  own  decorative  qualities  but  be- 
cause when  properly  chosen  they  link  together  the  hues 
appearing  in  other  fabrics.  When  used  in  any  quantity 
they  should  indeed  be  made  the  keynote  of  the  room,  the 
materials  in  solid  colours  being  purchased  to  agree  in  hue 
with  those  most  prominent  in  the  composite  fabric. 

This  method  of  deriving  a  colour-scheme  from  embroid- 
eries, tapestry,  brocades,  Japanese  prints,  Chinese  vases  or 
a  particularly  harmonious  bowl  of  flowers  is  often  practised. 

Oriental,  braided,  and  rag  rugs  come  under  the  same 
head  as  the  before  mentioned  fabrics;  whether  any  of  them 
constitute  the  foundation  scheme  or  whether  they  are  after- 
wards purchased,  their  main  colouring  should  be  that  of  one 
or  more  of  the  textiles  in  solid  colours. 

Not  only  should  none  of  these  composite  materials  be 
used  to  excess,  but  it  will  be  found  that  their  decorative 
value  is  much  greater  when  a  proper  proportion  is  observed. 
The  bungalow  living-room  (Plate  37)  is  a  good  example  of 
the  employment  of  cretonne,  and  Plate  2,  where  there  is 
much  plain  surface,  shows  a  judicious  use  of  stripes. 

There  are  other  methods  of  pulling  hues  together  and 
all  should  be  considered  and  that  selected  which  will  best 
answer  the  particular  purpose.  Lamp-shades  of  decorated 
parchment,  Chinese  embroidery,  or  brocades  of  varied  tones 
will  often  be  useful.  Shades  of  plain  colouring  with  fringe 
or  trimming  introducing  other  hues  or  black  (Plate  2)  may  be 
provided.  A  blue  or  green  lamp  may  have  a  shade  of  orange 
(Plate  71)  or  buff,  or  rose,  or  one  containing  them.  Curtains 
may  have  an  applique  of  a  design  or  bands;  vari-coloured 
tapestries  or  other  hangings  may  be  given  a  plain  border  of 
velvet  or  other  material  carrying  out  one  of  its  principal 
hues.  Plain  curtains  with  a  decorative  valance  and  looping 
b.ands  are  quite  in  order.  It  has  already  been  shown  what 


138         THE  SMALL  HOUSE  AND  APARTMENT 

relief  may  be  given  by  cords  and  tassels  of  another  colour 
than  the  cushions  on  seating-stools  and  chairs.  The  small 
objects  used  in  our  daily  life  are  numerous  and  these  give  us 
another  resource.  A  few  of  these  will  be  considered  later. 

Before  a  final  adjustment,  it  is  always  advisable  to  try 
fabrics  in  the  room  in  which  they  are  to  be  used.  The  pre- 
cise tone  that  will  admirably  suit  one  room  may  not  answer 
in  another.  But  the  trial  should  not  be  made  in  the  raw 
light  of  an  unfurnished  and  unshaded  room,  for  this  will  be 
no  criterion.  The  pieces  of  furniture  should  be  placed  in 
position  and  the  windows  be  provided  with  shades  or  curtains, 
or  preferably  both.  Shades  or  Venetian  blinds  should  gener- 
ally be  employed  to  avoid  a  garish  light  at  the  top  of  the 
room.  The  best  shades  are  those  of  heavy  weight,  greyish  or 
cream-white  within  and  dark  on  the  outside.  Venetian  blinds 
admit  air  while  shutting  out  an  excess  of  light  and  are  in  their 
appearance  very  attractive.  They  may  be  painted  any  colour 
desired  in  order  to  agree  with  the  general  colour-scheme. 

If  certain  colourings  harmonious  in  themselves  do  not 
"become"  a  room,  it  may  possibly  be  because  its  shape  for- 
bids a  proper  arrangement,  but  it  is  much  more  likely  to  be 
due  to  its  quality  of  light,  and  if  this  is  the  case  the  defect 
may  be  remedied  by  proper  draperies  at  the  windows.  A 
cold,  hard  light  will  be  warmed  and  softened  by  sash-cur- 
tains of  pongee,  or  buff,  or  rose  silk  or  gauze.  If  the  room  is 
dull  and  lacks  sunlight,  golden  yellow  or  orange  will  entirely 
change  its  effect. 

It  is  also  very  necessary  to  judge  colouring  under  the 
artificial  light  actually  to  be  employed;  i.e.  with  the  shaded 
side-lights  or  lamp  selected  for  the  room.  This  lighting  may 
similarly  be  modified.  Silk  lamp-shades  of  the  rose  tones 
should  be  lined  with  a  shell  or  deeper  pink,  except  when  used 
for  reading  and  other  work,  when  the  lining  should  be  white 
and  a  rose  hue  used  for  interlining.  Champagne  and  buff 


PARTICULARS  AND  MATERIALS  139 

shades  naturally  should  have  linings  on  the  same  tones,  or  if 
heavy  or  closely  shirred  may  need  no  lining.  Shades  of  plain 
blue  or  green  should  not  be  employed,  though  these  colours 
may  enter  into  their  decoration.  They  give  a  cold,  unbecom- 
ing light.  It  might  be  possible  to  change  this  by  the  use  of 
deep  rose  interlining,  but  it  is  usually  simpler  to  choose 
another  colouring  for  the  shade. 

No  better  advice  could  be  given  than  to  consider  the 
result  of  what  one  is  about  to  do  before  doing  it.  In  other 
words,  attempt  to  visualise  the  effect.  A  simple  example 
will  make  this  clear.  Suppose  a  room  having  many  doors 
and  windows  and  little  unbroken  wall-space.  Now  if  the 
openings  are  few,  the  general  counsel  is  to  have  door-  and 
window-hangings  the  same,  or  the  same  prevailing  colour; 
but,  if  they  are  many  and  a  like  drapery  were  used  for  all 
consider  the  result!  The  room  would  irremediably  be  cut 
up  by  these  masses  of  colour  here,  there,  and  everywhere,  and 
all  the  same  colour.  If  one  hue  is  employed  throughout, 
in  such  a  case  it  should  be  light  and  present  no  great  con- 
trast to  the  walls.  Otherwise,  the  door-hangings  may  be  of 
strong  hues  and  the  windows  kept  light,  though  not  neces- 
sarily colourless;  striped  taffeta  silks  are  one  of  the  resources 
in  such  instances. 

Balance  of  colour  was  considered  in  the  section  on  that 
subject.  Naturally  the  strong  hues  should  not  all  be  on  one 
side  of  the  room.  The  principal  colours  employed  should 
also  be  carried  elsewhere  in  the  smaller  articles  of  furnishing. 

It  was  mentioned  that  the  subsidiary  objects  necessary 
to  our  daily  lives  are  many — we  should  see  to  it  that  they  are 
necessary,  or  at  least  advisable,  and  that  they  do  not  become 
too  many.  There  is  a  smartness  and  wholesomeness  in  crisp, 
clean,  spacious  furnishing;  and  this  is  destroyed  by  over- 
loading, either  with  a  multiplicity  of  objects  or  with  too 
much  pattern. 


i4o         THE  SMALL  HOUSE  AND  APARTMENT 

Everything  brought  into  the  home  should  in  itself  be 
beautiful,  however  simple  and  plain:  in  furnishing,  ugliness 
is  a  crime  and  vulgarity  to  be  avoided  as  poison.  Why  bring  a 
tawdry,  abominably  coloured  fan  with  an  advertisement  upon 
it  into  the  abode  to  which  one  has  given  much  thought  when 
really  charming  Japanese  fans  may  be  bought  for  twenty- 
five  cents  or  a  shilling?  Visit  an  oriental  shop  and  see  what 
loving  care  the  Japanese  lavish  upon  the  tiniest  objects. 
Compare  their  scenic  postal-cards  with  our  own  vulgar  atroc- 
ities. Consider  their  simple  interiors,  ornamented  with  but 
a  few  charming  decorative  features  at  a  time — others  being 
put  away  to  be  brought  out  in  their  turn.  See  the  lovely 
effect  they  gain  by  one  flower  in  a  narrow-necked  receptacle, 
while  the  western  ideal  of  decoration  is  too  often  evinced  by 
a  "fancy"  bowl  heaped  with  incongruous  hues!  But  we 
are  civilised! 

Many  of  our  men  seem  to  consider  it  unmanly  to  be  any- 
thing else  than  uncouth,  or  at  least  careless,  in  their  attire 
and  their  surroundings,  while  their  women  overdress  (or 
underdress)  and  heap  their  dressing-tables  with  silver  and 
cut  glass.  The  charm  of  a  few  choice  articles  and  quaint  or 
unusual  vials  does  not  seem  to  have  entered  their  minds; 
though  such  things  as  the  latter  and  old  decorated  bottles 
may  be  picked  up  at  antique  shops  for  much  less  than  they 
spent  upon  the  atrocities. 

An  exercise  of  taste,  judgment  and  common-sense  will 
enable  us  to  provide  suitable  and  beautiful  accessories. 

To  begin  with  the  man — the  helpless  man.  What  shall 
he  put  on  the  bureau  of  his  room?  He  needs  hair-brushes — • 
a  pair  of  good  military  brushes  with  backs  of  mahogany, 
ebony,  or  other  wood  agreeable  to  his  furniture.  Place  these 
at  the  back  and  between  them  a  lacquered  Japanese  or 
leather-covered  box,  perhaps  6  inches  long,  to  hold  scarf 
pins,  collar-buttons  and  such  little  things.  He  may  think  it 


PARTICULARS  AND  MATERIALS  141 

useless,  but  if  he  is  not  careful  he  will  soon  find  it  full  of 
those  "little  things."  Off  to  one  side  may  be  a  clothes-  or 
hat-brush  and  a  hand-glass  backed  to  match  the  hair 
brushes.  He  will  have  a  comb,  a  pair  of  scissors,  and,  though 
he  may  not  care  for  a  manicure  set,  a  nail  file,  polisher  and 
curved  scissors.  These  may  go  in  a  tray  in  front  of  the  box, 
and  that  tray  may  be  of  metal,  not  offensively  ornamented, 
or  a  flat  Japanese  porcelain  tray  with  figures,  or  a  scene. 
The  box  and  tray  should  naturally  agree  with  the  room.  A 
pin-tray  may  be  an  odd  pewter  or  brass  affair,  or  a  little 
quaint  bowl.  This  is  about  all  the  plain  man  needs  and,  if 
these  be  manlike  and  tasteful,  his  bureau-top  will  look  well. 
He  may  add  a  pair  of  good  candlesticks,  or  a  single  one  off 
in  one  corner.  This  might  be  of  Japanese  or  other  pottery 
in  dark  green  and  cream  with  a  bayberry  candle.  A  scarf 
of  grey  linen  or  hemstitched  white  with  a  simple  initial,  to 
fit  the  top  of  the  bureau,  will  be  best.  There  will  be  nothing 
effeminate  or  beneath  his  dignity  in  such  surroundings.  The 
man  of  taste  and  culture  needs  no  hints  about  these  matters 
— his  difficulty  will  be  to  avoid  buying  beautiful  accessories 
for  which  he  has  no  place. 

If  the  man  be  a  smoker,  let  him  beware  of  many  of  the 
commercial  sets  and  humidors  which  are  vulgarly  orna- 
mented. Ash-trays  of  Benares  beaten  brass,  Japanese  por- 
celain, and  the  like,  may  be  bought  for  very  little  at  the  more 
unusual  and  oriental  shops.  Medallion-ware  hop-toy  cylin- 
drical jars  with  lids  are  excellent  for  cigarettes,  and  larger 
jars  or  attractive  boxes  for  cigars. 

The  desk  of  "the  plain  man"  (he  thus  characterises  him- 
self) may  be  as  simple  and  business-like  as  he  pleases.  A 
square  glass  inkwell  on  a  plain  base  is  certainly  better  than 
some  of  those  trencher-like  affairs,  though  there  is  no  reason 
why  he  should  not  have  something  savouring  less  of  the 
office,  provided  it  be  tasteful.  With  paper-knives  and  paper- 


i42         THE  SMALL  HOUSE  AND  APARTMENT 

weights  "watch  your  step" — they  are  often  anything  but 
simple,  and  the  designers  of  some  of  them  deserve  hanging. 
A  good  ivory  paper-knife  is  excellent.  There  is  no  need  for 
a  man^  possessions  to  be  either  dreary  or  greatly  ornamented ; 
there  is  no  excuse  for  their  being  flashy  or  ugly. 

A  woman  will  probably  find  it  more  difficult  to  keep 
small  objects  out  of  her  room  than  to  introduce  them.  An 
occasional-table  with  a  few  articles,  such  as  a  work-basket 
or  ornamental  bag,  a  candlestick,  vase,  plant,  or  the  like, 
will  be  homelike  and  supply  touches  of  colour.  Nothing  of 
course  adds  so  much  to  the  appearance  of  a  room  as  well- 
chosen  flowers.  There  may  be  a  bird-cage  at  the  window, 
and  an  imitation  canary  does  not  wake  one  up  at  daylight. 
In  every  bedroom  there  should  be  a  screen  as  a  protection 
from  the  direct  draft  from  the  widely-opened  window  at 
night  and  sometimes  to  shut  out  the  glare  of  the  too  adja- 
cent electric  street-light.  Caution  is  necessary  in  choosing 
just  the  right  thing  for  the  particular  room,  as  it  may  be 
either  a  delightful  accessory  or  quite  the  reverse.  This  is 
especially  true  of  waste-baskets. 

A  full-length  mirror  is  almost  a  necessity  for  a  woman, 
yet  if  the  room  be  small  a  cheval-glass  is  much  in  the  way. 
Mirrors  are  frequently  set  in  the  backs  of  closet  doors,  and 
if  not  existent  in  any  particular  case  a  sheet  of  plate-glass 
edged  with  narrow  moulding  may  easily  be  adjusted.  But 
why  not  hang  such  a  mirror  in  a  plain  frame  directly  on  the 
wall  in  a  good  light  and  at  a  convenient  spot?  It  may  be 
suspended  from  the  picture  rail  by  strong  wires  from  each 
upper  corner,  as  is  a  picture,  and  reach  to  the  baseboard. 

A  plate-glass  top  is  a  protection  to  the  dressing-table  or 
bureau,  and  a  piece  of  silk  or  brocade  is  often  placed  beneath 
it  to  give  attractive  colour. 

Regarding  white  curtains  it  may  be  said  that  some,  who 
extensively  advocate  the  "relating"  of  one  thing  to  another, 


PLATE  41 


LAMP  SHADES  IN   BATIK  SILK  DESIGNED  TO  MATCH  THE  LAMPS 
The  Ascbermann  Studio,  New  York 


PLATE  42 


Furniture  Manufactured  and  Sold  by  Oetzmann  >t  Co.,  Ltd.,  London, 
AN  ENGLISH   DINING-ROOM  WITH   SIMPLIFIED  JACOBEAN   FURNITURE 

The  walls,  ceiling,  and  window-arrangement  are  all  excellent 


PARTICULARS  AND  MATERIALS  143 

advise  that  with  cream  walls  the  woodwork  be  a  lighter 
cream  and  the  curtains  a  cream  white,  pointing  out  that  these 
completely  harmonise.  So  they  do.  And  if  the  walls  are 
cream  and  with  them  are  chosen  pure  white  enamel  and  pure 
white  curtains,  then  the  cream  and  the  white  contrast,  thus 
enhancing  the  decorative  value  of  both.  So  there  you  are! 
Choose  harmony  or  contrast;  whichever  will  best  answer 
the  particular  purpose. 

The  materials  suitable  for  thin  curtains  are  numerous. 
It  seems  a  far  cry  from  unbleached  muslin  to  silk  gauze,  yet 
each  is  excellent  in  its  place.  Select  what  is  appropriate  to 
the  scheme  of  furnishing  and  that  will  give  the  desired  effect. 
If  there  are  patterned  over-curtains  it  is  plain  that  the  thin 
curtains  should  be  simple.  If  there  are  no  over-curtains  and 
the  room  is  handsome  a  fine  quality  of  net  or  madras  may  be 
selected  with  an  attractive  design  of  considerable  boldness. 
Scrim,  swiss,  curtain-lawn,  marquisette,  Brussels  and  fish 
nets,  voile,  and  gauze  are  among  the  materials,  and  stripes, 
blocks,  dots,  and  figures  among  the  designs.  Some  are  self- 
bordered,  some  may  remain  plain,  and  others  be  given  edgings 
of  lace,  insertion,  or  hemstitching.  Many  of  the  madrasses 
with  colour  are  very  attractive,  especially  for  bedrooms  and 
bathrooms.  In  one  of  the  bedrooms  of  the  beautiful  home 
of  which  the  living-room  is  illustrated  in  Plate  150,  the  cur- 
tains are  of  pink  organdie  bound  with  rick-rack.  Dotted 
Swiss  with  ruffles  and  flounced  valance  is  also  excellent. 

Many  materials  for  over-curtains  will  be  noted  as  we  pro- 
ceed through  this  volume.  An  excellent  arrangement  appears 
in  Plate  42. 

Much  individuality  may  be  shown  in  table-strips  or 
runners,  from  canvas,  poplins,  and  silks  with  or  without 
applique  or  borders,  to  rich  brocades,  oriental  fabrics  and  the 
like.  Some  very  beautiful  brocaded  damasks  and  tapestries 
are  now  provided  in  various  sizes  for  this  special  purpose 


144         THE  SMALL  HOUSE  AND  APARTMENT 

among  the  Orinoka  products.  All  these  things  are  very 
useful  in  introducing  or  carrying  through  certain  desired 
notes  of  colour. 

Strips  are  now  of  such  universal  use  that  it  seems  a 
relief  occasionally  to  see  again  the  table-cover.  These  are 
particularly  valuable  where  the  table  itself  is  not  especially 
beautiful;  but  some  smart  decorators  are  occasionally  em- 
ploying, large,  rich  coverings  on  handsome  furniture. 

Wall-hangings  should  neither  be  overdone  or  overlooked. 
They  are  a  valuable  asset,  and  may  range,  according  to  the 
scale  of  furnishing,  from  the  simple  fabrics  already  provided 
through  printed  linens  and  the  handsome  cotton  tapestry  in 
the  living-room  in  Plate  2  to  valuable  brocades,  velvets, 
historic  tapestries,  oriental  fabrics  and  French,  Italian  or 
Spanish  Armorial  hangings.  Many  odd  things  at  reasonable 
prices  may  often  be  picked  up  by  one  alert  in  such  matters — 
the  writer  recently  saw  in  one  antique  shop  a  hanging  of 
China  silk,  plain  except  for  a  rich,  wide  border  of  small 
crimson  roses,  resembling  but  bolder  than  the  Cashmere 
designs,  and  in  another  a  shawl  in  beautiful  colourings  that 
would  well  answer  as  a  drapery  on  a  small  grand  piano.  The 
price  of  the  latter  was  but  $5.00,  so  it  may  be  seen  that 
attractive  things  are  not  always  expensive. 

Part  IV  should  be  consulted  for  such  important  mat- 
ters as  floors,  lighting,  and  pictures,  but  it  should  be  men- 
tioned here,  because  it  is  so  often  forgotten,  that  there  are 
many  other  things  that  may  act  as  wall-decorations  besides 
pictures.  Plaques,  carvings,  panels,  samplers,  framed  old 
embroidery  pictures,  Oriental  flower-pockets,  plaster  bas- 
reliefs  and  mirrors  of  many  descriptions  immediately  occur 
to  the  mind. 

Painted  and  other  decorative  boxes,  caskets,  old  snuff- 
boxes, single  odd  tiles,  statuettes,  porcelain,  Chinese,  Jap- 
anese, and  other  figures,  jars,  vases,  Venetian  and  Bristol 


PLATE  43 


f  A.  L.  Diament  A  Co.,  Philadelphia  and  New  York 


SMALL  FURNITURE  AND   DECORATIVE  ACCESSORIES 
APPROPRIATE  TO  MODERN   FURNISHING 


PLATE  44 


m 

QUEEN     ANNA     LACE 


DANERSK   BLOCK  PRINTS  AND   CHINTZES 

Made  in  France  and  England  from  old  designs 
Sold  by  Erskine-Danfortli  Corporation.  New  York 


PARTICULARS  AND  MATERIALS  145 

glass,  gold-fish  bowls,  maiolica  and  many  other  kinds  of 
plates,  trays  of  pottery  or  metal,  and  incense  burners  are 
among  the  various  small  objects  that  may  find  appropriate 
places  as  decorative  accessories. 

A  number  of  small  pieces  of  furniture  and  household 
ornaments  will  be  found  pictured  in  Plate  43. 

Two  principles  regarding  furniture  may  be  mentioned 
here.  Where  the  furniture-coverings  are  plain  it  is  fre- 
quently advisable,  for  the  sake  of  individuality,  to  introduce 
ornamental  coverings  on  a  couple  of  small  chairs  or  seating- 
stools.  On  the  other  hand,  when  there  are  several  kinds  of 
furniture  and  it  is  felt  that  the  various  pieces  need  pulling 
together  in  effect  the  employment  of  one  furniture-covering 
for  all  will  accomplish  this  result. 


10 


SECTION  II 

MODERN  FURNISHING  OF  MEDIUM 

COST 

CHAPTER  I 
ACTUAL  FURNISHING  OF  MODERATE  EXPENSE 

DIVIDING  furnishing  into  sections  by  standards  of  ex- 
pense can  only  of  course  be  very  approximate.  Indeed 
the  parcelling  out  of  beauty  in  accordance  with  dollar- 
values  is  to  the  writer  an  extremely  distasteful  task;  but  this 
is  a  practical  world  and  there  must  be  some  separation.  At- 
tempting to  treat  in  one  chapter  a  standard  of  decoration 
involving  the  use  of  furniture  at  $2000.00  a  suite  with  another 
where  but  $200.00  is  expended  would  manifestly  be  absurd 
and  could  only  land  us  in  confusion. 

The  present  section  will  be  one  of  medium  cost — that  is 
perhaps  a  better  word  here  than  moderate;  for  what  is  mod- 
erate to  one  purse  may  be  either  very  cheap  or  very  dear  to 
another.  However,  the  range  covered  is  wide  and  some  sort 
of  graduation  is  attempted. 

It  should  especially  be  noted  that  in  practice  the  sec- 
tions may  well  overlap.  For  example,  some  of  the  decorated 
bedroom-furniture  previously  illustrated  is  very  charming: 
in  that  section  it  was  accompanied  by  fabrics  of  decidedly 
moderate  cost,  but  with  silken  accessories  and  more  ex- 
pensive rugs  it  might  well  find  a  place  in  this  division.  It  is 
evident  that  it  is  not  furniture  alone  which  involves  cost: 
it  may  be  the  remainder  of  the  scheme  of  decoration  em- 
ployed. Then,  too,  some  rooms  may  often  be  more  expen- 
sively furnished  than  others,  and  so  a  single  home  may 
include  features  from  both  sections  at  this  end  of  the  scale, 
or  from  the  latter  part  of  this  division  and  that  still  more 

costly  at  the  other. 
146 


H7 

LIVING-ROOM 

Let  us  begin  with  the  living-room  illustrated  in  Plate  2. 
Its  equipment  is  inexpensive,  and  but  for  a  few  items  it  might 
have  been  included  in  the  previous  division.  In  the  chapter 
on  "Arrangements  Suggested  by  Use"  the  furniture  advisable 
for  a  living-room  of  fair  size  was  considered  and  a  floor-plan 
of  its  placement  made.  This  illustration  shows  one  possible 
treatment  of  its  decoration.  While  the  room  is  therefore  de- 
signed and  imaginary  its  individual  contents  are  not.  The 
writer's  desire  is  to  be  practical  and  helpful  and  to  show 
furnishings  which  are  actual  and  purchasable  in  the  open 
market — not  things  that  may  appear  very  desirable  but 
which  on  attempting  to  secure  it  is  found  cannot  be  obtained, 
or  which  would  prove  too  expensive. 

As  with  all  other  schemes,  this  is  suggestive,  but  it  is 
made  concrete  so  as  to  be  of  value.  The  keynote  of  the  deco- 
ration is  the  covering  of  the  pillows:  this  is  the  French  Silk 
Poplin  (irridescent),  the  second  shown  on  Plate  47.  The 
same  colouring  with  the  addition  of  other  hues  is  carried 
out  in  the  wall-hanging  with  a  black  ground — "Canterbury 
Jacobean  Tapestry  No.  5556,"  colour  18.  The  curtains  and 
coverings  are  of  the  blue  rep  mentioned  in  the  preceding 
section.  The  rugs  are  the  Seamless  Chenille,  Moresque 
Effect,  Mulberry  (W.  &  J.  Sloane,  New  York.) 

Now  the  furniture.  The  window  seat  would  be  a  strong 
box  made  by  a  carpenter — or  a  box-factory  for  that  matter. 
Around  it  would  be  put  a  valance  of  the  rep,  and  a  tufted 
squab  cushion,  to  be  made  by  an  upholsterer,  would  be 
placed  on  top.  The  plain  two-drawer  desk,  wicker  chair,  and 
simple  table  at  the  back  of  the  room  are  purposely  introduced 
here  because  many  families  will  already  possess  just  such 
articles  which  they  will  wish  to  use  in  the  living-room.  If 
these  are  of  medium  or  dark  oak  this  may  be  done.  If  highly 
varnished  this  surface  should  be  rubbed  down  with  powdered 


i48         THE  SMALL  HOUSE  AND  APARTMENT 

pumice-stone  and  linseed  oil,  wiped  off  well,  and  oiled  with 
the  rubbing-oil  to  be  obtained  of  any  good  cabinet-maker. 

The  settee  is  a  representative  piece  from  an  attractive 
group  of  furniture  which  might  well  find  its  place  in  such  a 
room.  It  is  more  ornamental  than  that  previously  con- 
sidered, yet  simple,  of  excellent  design,  and  finished  in  a 
rich,  warm  brown,  rubbed  here  and  there  in  an  effect  of  the 
mellowness  of  age  and  use.  This  furniture  is  manufactured 
by  Messrs.  L.  &  J.  G.  Stickley,  Fayetteville,  N.  Y.,  and  com- 
prises such  pieces  as  end-table  to  adjoin  the  settee,  table, 
bench,  drop-leaf  desk,  an  attractive  mirror,  'slat-back  chairs, 
a  small  stand  and  a  magazine  rack.  There  is  also  a  small 
table  with  waved  stretcher. 

The  octagonal  table  and  chair  illustrated  in  Plate  in 
could  also  well  be  used  here.  An  arm-chair  is  provided  in  addi- 
tion. These  pieces  are  of  walnut,  which  would  sufficiently 
well  accompany  oak.  As  mahogany  and  oak  do  not  go  well 
together  the  reader  will  probably  be  surprised  at  a  mahogany 
piano  appearing  here.  An  oak  case  would  be  much  better, 
but  the  writer  was  again  remembering  practicability:  oak 
may  be  secured,  but  the  supply  in  inexpensive  instruments 
is  not  so  large  as  in  mahogany.  This  was  painted  from  an 
illustration  of  a  low-priced  piano  kindly  furnished  by  Messrs. 
C.  J.  Heppe  and  Son,  Philadelphia.  It  will  be  seen  how  con- 
crete this  example  of  furnishing  has  been  made.  Pictures 
for  such  a  room  should  be  of  decorative  character. 

While  the  effect  is  secured  mainly  by  the  textiles  employ- 
ed, the  walls  have  their  share  in  producing  it.  No  decoration 
could  well  be  simpler.  A  painted  surface  would  be  best,  and 
the  panelling  could  be  carried  out  by  any  really  intelligent 
painter.  It  could  also  be  realised  in  wall-paper.  In  either 
case  the  householder  who  might  care  to  adopt  this  scheme 
should  see  to  it  that  the  rose  matches  that  of  the  pillows — 
or,  if  another  colouring  is  preferred,  that  it  precisely  accom- 


MODERN  FURNISHING,  MEDIUM  COST        149 

panics  the  tone  of  the  hue  chosen.  The  marking  off  of  the 
wall-spaces  should  also  be  well  looked  after.  The  "nagging " 
of  workmen  is  to  be  avoided  but  they  will  almost  invariably 
bear  watching — hence  the  advantage  of  a  professional  deco- 
rator in  cases  where  there  is  any  complexity  of  design. 

The  floor  would  be  painted  dark  grey  and  given  three 
good  coats  of  Valspar. 

In  this  room  the  "balance"  has  been  noted  but  may  be 
repeated.  The  furnishings  on  each  side  of  the  window  are  of 
equal  weight  of  effect:  the  top  of  the  hanging  to  the  left  is 
precisely  the  height  of  the  top  of  the  picture  on  the  right; 
that  of  the  Japanese  panel  is  centred  on  that  of  the  mirror. 

This  scale  of  furnishing  will  now  be  carried  out  in  other 
rooms. 

DINING-ROOM 

We  already  have  the  light  grey  wall,  the  dark  grey 
polished  floor  and  the  blue  hanging.  The  panelling  of  the 
living-room  wall  may  stand  alone  and  the  dining-room  be 
given  a  somewhat  different,  though  cognate,  effect,  as  the 
two  rooms  communicate  by  a  doorway  only  and  that  is  placed 
towards  the  corner. 

The  wall-treatment  may  therefore  be  a  band  of  black  at 
the  ceiling  and  another  around  the  room  at  the  height  of  the 
rose  tint  in  the  living-room.  The  baseboard  should  then 
also  be  painted  black  to  balance  the  lines  above.  For  a 
reason  that  will  presently  appear,  the  upper  bands  should 
be  flat  strips  of  wood,  perhaps  two  inches  wide,  painted  black, 
and  nailed  to  the  wall.  In  the  dining-room  designed  by  Mr. 
Shirley  Wainwright,  Plate  8,  he  has  used  back  of  the  side- 
board a  specially  designed  quilting,  but  in  his  article  to  the 
householder  in  "The  Studio  Year  Book"  for  1920  he  has 
given  like  treatments  for  sideboards  and  overmantels,  where, 
in  either,  cretonne  or  wall-paper  are  employed.  Another 
suitable  material  would  be  the  second  French  stripe  appear- 


150         THE  SMALL  HOUSE  AND  APARTMENT 

ing  in  Plate  46.  This  has  a  background  of  linen-colour  with 
stripes  of  emerald  green,  black,  and  orange,  which  would  here 
appear  as  subsidiary  hues.  The  material  would  be  stretched 
flat  against  the  wall  and  so  fastened  with  small  tacks;  then 
over  its  edges  at  the  sides  would  be  nailed  the  black  strips, 
they  joining  the  lower  of  the  horizontal  wall-bands  and  ex- 
tending down  to  and  uniting  with  the  black  baseboard.  The 
striped  material  should  fill  this  panel,  its  edge  at  the  top 
naturally  going  under  the  lower  horizontal  band. 

Such  furniture  as  that  shown  in  Plate  45  might  here  be 
used,  and  it  has  the  advantage  of  being  on  sale  both  in  nat- 
ural walnut  and  painted  in  a  number  of  colourings  with 
decorations.  Walnut  will  first  be  considered.  The  hand- 
some striped  print  with  ground  of  mulberry-rose  in  Plate 
55,  or  the  inexpensive  block  below  it,  would  be  most  effective 
for  chair-seats.  The  central  rug  might  be  grey,  plain  or 
with  mulberry  border,  and  the  curtains  white  or  pongee  with 
blue  over-curtains  if  desired. 

It  will  be  noted  that  the  sideboard  has  a  plate  rail, 
thus  affording  an  opportunity  for  the  use  of  a  few  pieces  of 
decorative  china.  Cauldron  ware  would  be  attractive  here, 
it  being  banded  with  orange-yellow  containing  small  sprigs 
of  flowers  with  green  leaves.  The  candlesticks  might  be  of 
either  dull  blue  or  cream-white  pottery  or  porcelain  with 
white  or  cream  coloured  candles.  The  shades  of  the  lights 
would  be  champagne.  If  the  shades  to  the  side-lights  are 
parchment,  mulberry  and  blue  may  be  prominent  in  the  hues 
of  the  decoration.  A  fine  use  of  accessories  is  seen  in  Mr. 
Pieter  Myer's  own  dining-room  with  its  ivory  and  red  fur- 
niture in  Greenwich  Village,  New. York  City  (Plate  75).  This 
very  modern  interior  deserves  study  because  of  its  many 
attractive  features. 

Although  we  are  here  considering  small  premises,  occa- 
sionally a  dining-room  is  rather  large,  so  that  when  the  chairs 


PLATE  45 


PLATE  46 


t 

Light  Blue 

Corn 

t 
Colour 

• 

1 
Linei 

. 

T 
i  Grey 

III 

| 

III 

, 

|- 

i 

'   t    t    T?                 t  r  r  t            t  r  r                          r 

E-merald  Green                       Linen  Grey           Orange  Centra  Lm^                 Orange 

r  T  t      T        t        t 

ose  Red     Orange    BKie     Yellow 


Dull  shades 


Rose 


Sold  by  A.  L.  Diament  A  Co.,  Philadelphia  and  New 
FRENCH  STRIPED  HEAVY  COTTONS  IN  GAY  COLOURINGS 

50  inches  wide.     Half  breadth  shown 


York 


PLATE  47 


• 


Background   Dull  Rose       Sb-ipes  Shaded  YellowTan  with  WKite  Lines 


Blue      Tan      Ro-se      Tdix  Blue 


t      r         T?Tff  *  T  t         1  T  f 

Rose      Green     J5ufl          Grey          Rose  Green      Buff  RoSe 

-  Sold  by  A.  L.  Diament  4  Co.,  Philadelphia  and  New  York 

FRENCH  IRRIDESCENT  POPLINS  IN  SOFT  COLOURINGS 

Width  48  and  50  inches.     Half  breadth  shown 


MODERN  FURNISHING,  MEDIUM  COST         151 

are  grouped  about,  the  table  the  wall-space  appears  empty. 
In  such  a  case  a  few  side  chairs  of  different  but  cognate  char- 
acter, or  a  couch,  or  an  arm-chair  will  give  a  more  comfortable 
and  homelike  aspect,  even  though  they  seldom  be  used. 

An  alternative  to  the  use  of  the  striped  material  as  a 
backing  to  the  sideboard  would  be  the  beautiful  French 
printed  linen  shown  in  Plate  37A.  In  this  case  the  plates 
might  contain  the  rose  red  appearing  in  the  linen.  The 
same  material  would  then  be  employed  for  the  chair-seats, 
the  medallion  appearing  in  their  centre. 

It  is  worth  while  giving  here  another  possible  scheme  for 
this  room.  The  furniture  already  referred  to,  as  illustrated 
in  Plate  45,  there  appears  in  one  of  its  other  finishes — soft 
grey  with  white  and  brown  stripes.  It  could  be  used  in  this 
room  with  beautiful  effect.  The  chair-seats  are  there  covered 
with  tapestry  of  very  quiet  tones  and  no  particular  character, 
and  the  blue  might  advantageously  be  substituted.  The 
rug  could  still  be  grey  with  rose  border.  A  good  deal  of  rose 
and  some  tan  would  need  to  be  introduced  elsewhere  in  the 
room  as  there  would  then  be  much  blue.  Rose  could  equally 
well  be  used  for  the  chair-seats. 

With  this  light-toned  furniture  the  backing  would  be 
abandoned.  In  the  illustration  (Plate  45)  a  reproduction  of 
one  of  the  old  flower-pieces  appears  above  the  sideboard,  but, 
as  these  are  expensive,  one  of  Mr.  Thorpe's  modern  flower 
prints  would  be  effective  and  agree  even  better  with  this 
scheme  of  furnishing.  The  plates  and  candlesticks  should 
then  be  chosen  to  accord  with  the  hues  of  the  print. 

WOMAN'S  BEDROOM  OR  BOUDOIR 

In  this  room,  to  be  used  for  either  of  the  above  purposes 
and  furnished  accordingly,  a  departure,  which  after  all  is 
merely  apparent,  will  be  made  from  the  scheme  for  the  sake 
of  variety.  Two  of  the  triad  of  colors,  yellow  and  blue,  when 


i52         THE  SMALL  HOUSE  AND  APARTMENT 

mixed  together  produce  green.  We  may  thus  use  green  prom- 
inently with  rose  and  still  pursue  the  general  plan,  if  that 
colour  be  helped  out  by  smaller  portions  of  its  components 
to  carry  through  the  general  effect  and  so  satisfy  the  eye. 

For  this  room  let  us  adopt,  then,  the  scheme  of  rose, 
ivory  white  or  grey,  and  green,  with  touches  of  modified 
blue  and  yellow.  We  still  have  the  light  warm  grey  walls, 
oyster  white  woodwork,  and  dark  grey  polished  floor.  Add 
to  these  ivory  white  or  grey  furniture.  Let  the  rug  be  of 
soft  green.  At  the  windows,  in  addition  to  the  white  cur- 
tains, use  a  chintz  of  grey  or  cream  ground  with  rose  sprigs 
and  green  leaves  (or  a  small  pattern  in  the  same  colouring) 
and  employ  this  also  on  the  large  arm-chair.  The  small 
chairs  should  be  cushioned  in  solid  rose  to  match  that  hue 
in  the  curtains;  and  if  that  chances  to  be  a  coral  shade  it 
will  be  a  variation  from  that  previously  adopted.  Touches 
of  modified  yellow  and  blue  are  now  needed.  The  screen 
could  well  be  old  gold:  so  could  the  shades  for  the  lamp  .and 
side-lights.  Dull  blue  pottery  bowls  or  candlesticks  will  be 
in  order.  There  is  an  exquisite  tone  of  warm  grey  to  be  found 
in  "Canterbury  Webster  Poplin",  Style  2036,  50  inches  wide, 
and  this  or  similar  goods  could  be  used  for  the  door  hangings, 
they  being  banded  near  the  bottom  with  the  old  blue  of  the 
pottery.  If  the  tones  are  properly  chosen  this  room  will  have 
a  soft,  atmospheric  effect  of  modified  but  abundant  colour. 

If  this  scheme  is  used  for  a  boudoir  with  a  communi- 
cating bedroom  for  the  lady  of  the  house  then  the  same 
colouring  should  be  employed  for  that  also,  with  some  minor 
changes  in  the  location  of  the  various  tones. 

JOINT  BEDROOM 

In  a  room  to  be  occupied  by  both  husband  and  wife  the 
colouring  may  be  made  more  robust  without  losing  its  charm. 
The  green  rug  may  remain,  and  the  furniture  be  grey,  wal- 


PLATE  48 


PLATE  49 


CHILDREN'S  ROOM   IN  A  HOUSE  AT  READING,   PENNSYLVANIA 

Remodelled  by  Duhring,  Okie  A  Ziegler 
The  small  furniture  is  painted 


MODERN  FURNISHING,  MEDIUM  COST        153 

nut,  or  dark  oak.  There  should  be  twin  beds.  Draperies 
will  be  the  key  of  the  room :  a  tree-peony  design  seen  by  the 
writer  possesses  the  needed  characteristics,  and  there  are 
doubtless  other  patterns  which  will  equally  answer.  This 
has  a  ground  slightly  yellower  than  the  walls,  with  peonies 
in  mulberry  rose,  the  tree  being  a  dark,  neutralised  violet. 
It  also  contains  touches  of  darker  grey,  green  and  tan.  This 
can  be  used  at  the  windows  and  on  the  large  chair,  the  others 
being  seated  with  plain  mulberry.  Old  gold  may  be  retained 
for  the  screen  and  champagne  used  for  the  lamp  shade.  The 
band  on  the  door-hangings  would  better  then  be  mulberry, 
or  the  green  of  the  rug.  Very  dark  ultramarine  blue  jars 
of  solid  colour  will  supply  the  blue  note. 

A  man's  room  may  be  as  above,  using  walnut  or  dark 
oak  furniture.  If  he  prefers  omitting  the  cretonne  at  the 
windows  he  may  do  so,  having  simple  white  curtains  only. 

THE  YOUNG  GIRL'S  ROOM 

As  blue  and  yellow  produce  green,  so  do  blue  and  red 
produce  violet.  The  modified  violets,  soft  mauves  and  plums 
go  beautifully  with  rose  and  with  carefully  chosen  grey-blues. 
Add  to  these  tan,  buff  or  old  gold  -and  the  scheme  is  again 
complete. 

A  proper  distribution  of  these  tones  in  the  same  manner 
as  with  those  already  so  carefully  detailed,  will,  with  ivory 
or  grey  furniture,  compose  a  charming  room  for  the  young 
girl.  Should  the  furniture  be  decorated,  then  too  much  other 
decorated  or  otherwise  patterned  material  should  be  avoided. 
Plate  48  illustrates  a  set  of  furniture  which  would  be  useful 
here. 

THE  YOUNG  MAN'S  ROOM 

Of  course  if  the  young  chap  wishes  to  turn  his  sleeping 
quarters  into  the  usual  den,  trophy-shop,  or  college-room  the 
writer  has  nothing  more  to  say.  Let  him  go  ahead!  But 


154         THE  SMALL  HOUSE  AND  APARTMENT 

perhaps  he  is  more  intrinsically  manly  and  doesn't  mind 
asserting  his  independence  a  bit.  Perhaps  there  is  a  good 
attic  room  that  couid  be  used  for  those  trophies  and  for 
"rough-house"  purposes  if  necessary.  Then,  realising  that 
he  will  soon  be  a  man,  let  him  have  a  real  man's  room.  He 
has  been  on  a  bachelor's  power-boat  or  on  shipboard — did  he 
notice  how  everything  had  its  own  place  and  was  kept 
there?  Immaculate  order  and  cleanliness  are  the  first  words: 
sloppiness  in  gait,  manner,  dress,  or  abode  are  a  disgrace  to 
a  man  and  a  handicap  to  his  whole  future. 

Strength  and  simplicity  are  the  right  notes — a  touch  of 
asceticism  even  will  not  hurt  the  usual  young  man  "a  little 
bit".  Perchance  he  has  some  scholarly  ambitions  or  hopes  to 
make  of  himself  an  all  'round,  broad-minded  man  who  knows ! 
Just  a  whisper,  a  question:  Who  is,  on  every  subject  but 
business  and  sport,  the  broadest  minded,  most  generally 
cultured,  most  alert,  yes,  most  progressive  man  in  America 
to-day?  Isn't  it  the  woman? 

To  put  it  humorously  she  may  not  know  just  what  it  is 
that  she  thinks  she  wants,  but  the  sharp  edge  of  the  matter  is 
that  she  is  alert,  enterprising,  avid  for  knowledge,  and  the 
opportunity  of  using  it.  Is  the  male  half  of  the  American 
race  similarly  awake? 

In  European  society  men  are  able  to  hold  their  own  in 
any  discussion  on  any  subject  that  may  arise :  observe  the  face 
of  the  American,  unless  he  is  more  or  less  of  a  professional 
man,  when  some  topic  a  little  out  of  the  ordinary  is  broached. 
In  sanity,  energy  and  power  of  organisation  the  American 
business  man  is  hard  to  beat  and  not  easy  to  equal :  the  whole 
question  is,  Does  he  give  too  much  thought  to  his  business  and 
pleasure  and  too  little  to  life  and  knowledge?  It  is  quite  true 
that  one  may  have  too  many  interests  and  arrive  nowhere: 
it  is  also  true  that  many  a  man  has  lost  his  wife's  intellectual 
respect  in  most  things  other  than  his  power  of  making  money. 


MODERN  FURNISHING,  MEDIUM  COST        155 

The  writer  is  not  to  be  drawn  into  so  ticklish  a  question 
as  respective  superiority:  there  is  no  superiority  in  question 
—it  is  solely  a  matter  of  applied  ability.  Both  man  and 
woman  are  needed,  badly  needed,  to  adjust  the  affairs  of  this 
tangled  world.  The  best  influence  of  both  is  required  also 
in  the  home — yes,  even  in  the  furnishing  of  the  home.  The 
latter  has  been  left  almost  entirely  to  the  women;  they  have 
done  well — but  man's  poise  and  constructional  ability  are 
demanded  for  the  finest  results.  In  the  new  generation  are 
we  going  to  get  them?  The  interior  of  the  home  is  man's 
job  as  well  as  woman's — and  a  full-sized  job  it  is! 

And  the  young  man — is  he  content  that  his  sister  should 
become  a  brilliant  woman  while  he  possibly  wastes  his 
opportunities?  When  he  marries  will  he  be  able  to  converse 
with  his  wife,  be  her  companion,  enjoy  good  literature?  Or 
will  he  sink  his  nose  in  the  stock-reports  or  the  sporting- 
news?  Will  he  be  a  father  to  his  children  or — "just  Dad"? 

It  will  scarcely  be  asked  what  all  this  has  to  do  with  the 
young  man's  room.  Everything,  naturally.  For  the  room  un- 
failingly reflects  its  occupant,  his  interests,  and  his  pleasures. 
Therefore  its  details  may  safely  be  left  to  him.  He  will  attend 
to  all  that — whether  he  realises  it  or  not.  Because  of  this 
the  result  is  worth  watching. 

General  suggestions  only,  then,  on  the  part  of  the  writer. 
One  appropriate  combination  would  be  practical,  conven- 
ient, dark  furniture,  a  good  deep  blue,  medium  green,  or 
taupe  rug,  white  curtains  and  shade  or  Venetian  blind, 
chairs  in  rich  mulberry,  a  good  reading-lamp  with  cham- 
pagne or  linen-coloured  shade.  Don't  forget  the  bookcase 
— or  its  contents.  Without  books  the  world  would  be 
a  poor  place.  As  for  the  rest — if  he  cares  to  go  further — 
he  will  find  much  in  this  volume  to  afford  him  suggestions. 
Just  one  word  more:  the  pictures  he  puts  on  his  walls  will 
especially  show  the  sort  of  young  man  he  is. 


i $6         THE  SMALL  HOUSE  AND  APARTMENT 

THE  CHILD'S  ROOM 

The  pictorial  idea  has  been  here  greatly  overdone.  Pic- 
tured wall-papers  and  friezes,  pictured  screens  and  furniture 
are  all  supplied,  and  unhappily  too  many  of  them  are  com- 
monly used  at  once.  Presumably  the  intention  is  to  stimu- 
late the  child's  interest  and  so  prove  of  educational  value:  the 
actual  working  out  of  the  matter  is  that  while  the  novelty  at 
first  engages  attention  these  things  quickly  become  an  old 
story,  and  what  remains  is  a  restless  and  disturbing  room. 
There  is  no  objection  to  any  of  these  features  being  used, 
such  as  the  child's  furniture  shown  in  Plate  59,  provided 
that  the  remaining  furnishings  are  free  from  over-decoration. 

One  of  the  prettiest  rooms  the  writer  knows  is  that  of  a 
little  boy  five  years  old.  There  are  casement  windows  af- 
fording plenty  of  light  and  air:  the  walls  are  French  grey, 
panelled  with  applied  strips  in  white.  A  charming  low- 
post  bed  of  the  period  of  about  1830  and  other  furniture  are 
painted  in  grey-blue.  The  portiere  is  of  old  gold,  and  heavy 
curtains  at  the  windows,  to  exclude  light  when  necessary,  are 
of  blue  and  old  gold.  Some  rose  appears  in  the  accessories. 
Here  the  atmosphere  is  of  cheerful  refinement  and  repose.  A 
child  growing  up  in  such  surroundings  will,  if  he  have  any  nat- 
ural fineness  in  him,  instinctively  draw  back  from  vulgarity. 

It  seems  to  the  writer  that  it  is  this  sort  of  education 
the  modern  child  most  greatly  needs :  other  information  may 
be  conveyed  without  plastering  the  premises  with  it. 

In  the  play-room  the  child  cares  little  for  ornament  and 
very  much  indeed  for  space.  Would  that  all  the  youngsters 
might  have  such  a  room  as  that  shown  in  Plate  49. 

ENGLISH  FURNISHING 

As  was  mentioned  in  the  Foreword,  it  would  manifestly 
be  impossible  in  a  volume  of  this  size  fully  to  illustrate 
British  commercial  furniture  and  textiles.  Inexpensive  pieces 


MODERN  FURNISHING,  MEDIUM  COST        157 

have  already  been  shown,  and  much  craftsman  furniture 
will  appear  later  on.  The  types  appropriate  to  Modern 
decoration  are  well  indicated  in  this  section  and  also  by  the 
work  of  the  English  interior  architects  and  craftsman  illus- 
trated: these  should  be  followed  as  closely  as  may  be  in 
purchasing  from  dealers. 

Specially  designed  interiors  and  furniture  naturally 
belong  in  the  section  on  "The  Highest  Development  of 
Modern  Furnishing"  and  they  are  there  particularly  referred 
to,  but  they  are  so  illuminating  and  will  prove  so  helpful  in 
suggestion  that  some  of  these  illustrations  are  placed  else- 
where for  this  reason  as  well  as  to  afford  a  more  even  distri- 
bution of  the  colour-plates  throughout  the  volume. 


CHAPTER  II 

ADDITIONAL  FACILITIES  IN  THE  DEVELOPMENT  OF 
MODERN  FURNISHING  OF  MEDIUM  COST 

ARCHITECTURAL  DEVELOPMENT.  DEVELOPMENT  BY  WALL-TREAT- 
MENT. DEVELOPMENT  BY  TEXTILES.  DEVELOPMENT  BY  FURNI- 
TURE. ADDITIONAL  ROOMS. 

AS  will  have  been  seen,  the  plan  of  this  volume  is  cumu- 
JL\  lative;  the  aim  has  been  to  develop  gradually,  and  first 
to  give  by  the  examples  of  furnishing  presented  a  firm  basis 
of  clear  understanding  of  general  principles  and  practice. 
This  knowledge  gained,  we  now  proceed  further  in  the  evo- 
lution of  the  home  by  this  method  of  modern  furnishing. 

There  are  several  interesting  ways  in  which  we  may 
"branch  out". 

I.  Where  the  house  is  owned  by  the  occupant  archi- 
tectural improvements  are  worth  consideration. 

II.  Decorative  effect  in  either  the  house  or  apartment 
may  be  increased  by  wall-treatments — simple  or  otherwise. 

III.  Development  may  be  secured  by  the  use  of  more 
unusual  or  more  expensive  textiles. 

IV.  More  colourful  or  more  expensive  furniture  may 
be  employed. 

V.  Where  the  premises  to  be  treated  are  of  larger  scope 
we  may  provide  for  interesting  rooms  other  than  the  strictly 
necessary  ones  so  far  considered. 

VI.  Changes  may  be  made  in  the  direction  either  of 
quieter  or  more  novel  effects  through  the  degree  of  colour- 
intensity  chosen.    The  tones  so  far  provided  for  are  of  med- 
ium intensity;  such  as  those  that  appear  in  Plate  2.    It  is  not 
the  specific  colours  selected  so  much  as  the  degree  of  those 
colours  that  renders  decoration  brilliant  or  otherwise.    This 
is  quickly  illustrated :  if  we  use  in  a  room  the  normal,  prim- 
itive hues  of  violet,  orange,  and  emerald  green,  we  obtain 

158 


PLATE  50 


MODERN  FURNISHING,  MEDIUM  COST         159 

the  almost  violent  colouring  employed  by  some  modern  deco- 
rators: if  for  these  we  substitute  such  tones  as  appear  in  the 
Frontispiece,  or  plum,  burnt  orange,  and  a  soft  green  contain- 
ing more  yellow  than  blue,  we  then  have  an  exquisite  colour- 
scheme  both  rich  and  quiet — yet  the  same  triad  has  been 
chosen  in  each  case. 

I 
ARCHITECTURAL  DEVELOPMENT 

By  reason  of  architectural  arrangement  and  special 
features  some  interiors  are  attractive  before,  as  we  sometimes 
say,  a  stick  of  furniture  is  placed:  others  lack  all  such  ad- 
vantages. Where  means  permit,  many  improvements  are 
possible  in  undesirable  properties  and  a  study  of  the  plates 
in  this  volume  will  suggest  ideas.  The  possibilities  embrace 
more  tasteful  stairways,  doors  and  mantels,  bow-windows, 
beamed  ceilings,  casement-windows  or  ranges  of  them,  al- 
coves, and  numerous  built-in  features.  Not  illustrated  here 
is  the  closet  with  small  panes  of  mirror-glass.  Plate  50  shows 
an  English  Country-house  interior  of  much  attraction  though 
it  contains  little  portable  furniture.  See  also  the  dining-room 
facilities  in  Plate  3. 

In  America  nearly  all  the  items  mentioned  above  may 
be  obtained  ready  for  placing,  and  a  number  of  them  are 
illustrated  in  the  accompanying  plates — 51-54.  This  "Per- 
manent Furniture"  (and  also  stairways,  windows,  doors, 
porches  and  the  like)  was  designed  by  Messrs.  Trowbridge  and 
Ackerman,  the  eminent  New  York  architects,  and  descrip- 
tive booklets  are  sent  to  applicants  by  the  manufacturers.  A 
labour-saving  device  for  the  kitchen  is  illustrated  in  Part  IV. 
All  are  thoroughly  tasteful  and  of  excellent  architectural 
character.  There  are  also  many  other  attractive  "lines"  of 
built-in  work. 

In  England  the  bow-window  alcove  for  the  dressing-table 
in  bedrooms  is  common  in  properties  of  even  moderate  scope: 


160         THE  SMALL  HOUSE  AND  APARTMENT 

they  are  of  course  provided  in  many  well-planned  American 
houses,  but  are  not  so  frequently  encountered  as  might  be 
desired.  Recesses  often  occur,  and  these  may  be  taken  ad- 
vantage of  where  closet-space  is  limited.  Attractive,  colourful 
curtains  for  these,  with  perhaps  an  applique  design,  will  add 
much  to  the  decorative  and  individual  character  of  the  room. 
In  an  illuminating  article  by  Mr.  Shirley  B.  Wainwright,  in 
the  "  Studio  Year  Book  "  of  1920  (The  Studio  Offices,  London) 
a  number  of  possibilities  in  this  direction  are  described  and 
illustrated  in  colour.  His  plan  is  to  place  at  the  upper  front 
of  the  recess  a  simple  piece  of  woodwork,  often  arched  or 
curved,  which  largely  prevents  the  penetration  of  dust.  He 
also  shows  that  these  recesses  may  be  enclosed  with  glazed 
doors  or  supplied  with  low  cupboards  with  shelves  above,  the 
latter  protected  with  woodwork  and  curtain  as  before. 

Beamed  ceilings  with  robustly  treated  walls  (Plate  42) 
are  often  advantageous.  In  some  cottages,  houses  of  early 
English  type,  and  many  bungalows,  it  is  appropriate  that 
more  or  less  of  the  structural  woodwork  should  appear  and 
be  of  the  same  character  as  the  beams  above.  Built-in  win- 
dow-seats, alcoves,  and  the  like,  are  an  aid  to  this  effect. 
Sometimes  a  large  portion  of  the  skeleton  woodwork  is 
visible:  Mr.  M.  H.  Baillie  Scott,  whose  work  is  so  well  known 
both  in  England  and  America,  is  a  past-master  in  this  style  of 
construction. 

II 
DEVELOPMENT  BY  WALL-TREATMENT 

At  the  very  outset  the  reader  should  realise  that  in  some 
of  the  smartest  and  most  expensive  decoration  the  walls  are 
absolutely  plain  (as  will  be  seen  in  a  number  of  plates  in  this 
volume)  and  so  should  free  himself  from  such  a  misconcep- 
tion as  that  such  walls  are  a  make-shift  or  "cheap"  in  effect. 
It  is  solely  a  question  of  the  means  best  adapted  to  the  secur- 
ing of  the  desired  result  whether  plain  or  decorated  walls  are 


PLATE  51 


BOOK-CASES  AND  WINDOW-SEAT  COMBINATION 
The  seat  is  made  to  fit  the  room  for  which  it  is  intended 


A  TRAY-CASE  FOR  THE  BEDROOM 
Manufactured  by  Curtis  Companies,  Clinton,  Iowa 


PLATE  52 


CHINA  CLOSET  OF  CLASSIC   DESIGN 


CHINA  CLOSET  OF  COLONIAL  DESIGN 


Both  are  made  either  for  flat  wall  or  corner  use 
Manufactured  by  Curtis  Companies,  Clinton,  Iowa 


PLATE  53 


CHINA  CLOSET  WITH  ARCHED  TRACERY 


CHINA   CLOSET  \\ 


1C   TRACERY 


Both  are  made  either  for  flat  wall  or  corner  use 
Manufactured  by  Curtis  Companies.  Clinton.  Iowa 


PLATE  54 


DRESSER  SIDEBOARD  OF  COLONIAL  DESIGN 


DRESSER   SIDEBOARD   OF  ENGLISH    DERIVATION 


Manufactured  by  Curtis  Companies,  Clinton,  Iowa 


MODERN  FURNISHING,  MEDIUM  COST        161 

chosen.  Plain  surfaces  may  be  rendered  decorative  by  the 
use  of  colour  when  desired. 

In  any  ornament  applied  to  walls  the  architectural  lines 
should  be  followed  and  preserved.  Cut-out  borders  in  wall- 
papers are  especially  disturbing  to  these  lines. 

Unless  ceilings  are  unusually  low  it  is  of  decided  advan- 
tage to  set  down  the  picture  rail  fourteen  to  eighteen  inches. 
This  in  itself  gives  a  slightly  decorative  effect,  adds  a  home- 
like appearance,  obviates  the  necessity  of  long,  "stringy" 
picture-wires,  and  makes  the  hanging  of  the  pictures  them- 
selves a  far  less  dreaded  piece  of  work.  A  canopy  effect — 
the  bringing  down  of  the  ceiling-tint  to  this  rail — is  desirable 
if  the  ceiling  is  high,  or  in  some  methods  of  decoration  to  be 
indicated,  but  it  is  not  usually  necessary.  Where  not  done, 
the  paper  or  tint  above  the  rail  should  be  the  same  as  that 
below.  The  simplest  possible  form  of  decoration  is  that  em- 
ployed by  Mr.  Hall  Thorpe  in  the  cottage  interior  pictured  in 
Plate  29.  There  this  picture  rail,  the  woodwork,  and  the  top 
of  the  baseboard  are  painted  in  a  different  colour  than  the 
walls.  It  will  be  noted,  too,  that  the  baseboard  is  painted 
in  the  grey  tone  of  the  floor:  this  has  the  effect  of  apparently 
enlarging  the  room.  Strongly  coloured  plain  or  decorated 
walls  have  been  adopted  by  some  modern  decorators,  partic- 
ularly in  France  and  America.  A  catholic  taste  is  willing  to 
consider  all  methods  and  sometimes  this  is  advantageous, 
particularly  if  the  premises  consist  of  but  a  few  rooms. 
Where  they  are  many  the  carrying  of  strong  colour  over  all 
the  wall  spaces  would  become  tiresome,  and  the  employ- 
ment of  various  strong  colours  is  destructive  of  unity. 

The  simple  truth  in  the  matter  is  this — that  whenever 
the  householder  has  to  struggle  against  highly  coloured  or 
diverse  wall-surfaces  through  a  series  of  rooms  he  almost 
invariably  comes  to  grief;  whereas  if  he  provides  a  compara- 
tively quiet  background  he  almost  as  universally  succeeds. 

ii 


162         THE  SMALL  HOUSE  AND  APARTMENT 

On  the  other  hand  he  may  still  preserve  unity  and  yet 
endue  one  room,  or  two  communicating  rooms,  with  variety 
in  this  respect  by,  in  those  alone,  much  increasing  the  in- 
tensity of  the  general  colouring.  If,  for  instance,  the  usual  tone 
is  a  pale  modified  yellow,  such  as  cream  or  primrose,  a  re- 
ception-room may  have  walls  of  a  strong  yellow  agreeing 
therewith  or  may  have  a  handsome  gold  paper. 

If  he'  wishes  to  introduce  special  colouring  or  unusual 
features  in  the  walls  of  such  a  room  as  a  billiard-  or  card- 
room  he  may  easily  do  so,  for  novelty  is  here  his  object. 
Something  on  this  order  might  be  done — and  he  may  care 
to  know  that  this  is  Parisian:  Walls  vivid  magenta  with  gold 
design;  windows  hung  with  gold  tissue;  carpet  dull  gold  with 
black  velvet  floor  cushion;  furniture  black,  a  cabinet  being 
inlaid  in  Eastern  colouring  and  with  a  black  vase  holding  a 
spray  of  rose  Japanese  cherry-blossoms;  wrought-iron  floor 
lamp  with  alabaster  bowl  throwing  a  rose-coloured  light.* 
It  will  be  noted  that  except  for  the  walls,  which  give  the 
strongly  decorative  note,  this  interior  is  restrained  in  colouring. 

Is  not  the  following  rather  illuminating  upon  the  whole 
subject?  William  Morris  designed  many  notable  wall-cov- 
erings, yet  a  writer  in  the  London  Athenaum  mentions  that 
the  last  words  he  ever  heard  Morris  say  were  these:  "After 
all,  plain  whitewash  is  the  most  beautiful  mural  decoration. " 

The  lining  up  of  the  walls  with  a  wainscot  or  panel  effect, 
or  with  vertical  lines,  or  lines  or  borders  around  ceiling, 
corners,  and  window-and-door-openings  constitute  a  number 
of  resources  to  be  taken  advantage  of  in  different  ways. 
Naturally,  the  special  designs  made  for  private  clients  by 
eminent  interior  architects  and  decorators,  and  repro- 
duced by  their  permission  in  this  volume,  would  not  be 
imitated;  but  the  general  disposition  of  their  ornamental 
features  will  be  useful  to  the  reader  in  affording  him  hints 

*  Good  Furniture  Magazine,  July,  1920. 


MODERN  FURNISHING,  MEDIUM  COST        163 

for  simpler  treatments  which  a  little  invention  and  care  will 
enable  him  to  carry  out.  Reference  is  made  to  some  of  these 
illustrations  for  this  purpose.  Plate  71  shows  a  combined 
wainscot  and  panel  effect  which  might  easily  be  simplified 
by  the  general  householder,  the  border  between  the  two  be- 
coming a  plain  band.  If  the  panel-lines  are  painted  or 
papered  the  border  might  be  the  same;  if  strips  are  applied 
to  form  the  panels  then  they  should  also  be  employed  for  the 
border.  Attention  is  also  called  to  the  Frontispiece  and  Mr. 
Wainwright's  dining-room  design  (Plate  8),  Mr.  Palmer 
Jones'  Lounge  in  Plate  68,  to  Plate  45,  Mr.  Aschermann's 
designs  in  Plates  3  and  77,  and  the  writer's  in  Plate  2. 

Stencilled  designs  carried  close  to  the  picture-rail,  base- 
board, and  corners  or  other  divisions  are  excellent,  but  these 
should  be  of  strictly  conventional  character.  Borders  of  the 
same  type  may  sometimes  be  found  in  wall-paper  and  applied. 

Walls  blocked  in  a  masonry  effect  are  good  where  the 
furnishings  are  of  bold,  appropriate  character.  Plate  10  shows 
a  stone  wall  in  a  room  with  period  furniture  but  a  masonry 
block  is  equally  available  for  modern  furnishing. 

In  this  style  of  decoration  ceilings  are  seldom  very  orna- 
mental, though  in  specially  designed  interiors  a  moderate 
amount  of  design  may  be  employed.  In  Mr.  Palmer  Jones' 
Lounge  (Plate  68)  it  is  coved  and  painted  blue,  and  Plate  69 
shows  a  barrel-roofed,  panelled  effect. 

The  usual  flat  ceiling  may  be  painted  a  light  colour  dif- 
ferent from  the  walls.  In  a  room  in  which  it  is  needful  to 
import  sunniness,  and  where  considerable  derivative  yellow 
is  used  in  the  textiles,  it  would  not  be  wise  to  employ  that 
colour  in  the  walls  also;  they  may  then  be  ivory  or  pale  grey 
with  a  hint  of  yellow  therein  and  the  ceiling  be  a  golden 
yellow.  In  more  costly  interiors  a  plain  gold  paper  could  be 
used  instead. 

The  decorative  possibilities  of  painted  mantels  or  over- 


1 64        THE  SMALL  HOUSE  AND  APARTMENT 

mantels  should  not  be  overlooked.  Even  such  simple  treat- 
ment as  that  in  Plate  29  is  effective.  Stone,  brick  and  tile  are 
also  excellent  where  colour,  texture  and  scale  are  properly 
observed. 

Ill 
DEVELOPMENT  BY  TEXTILES 

It  has  been  seen  what  crisp  and  attractive  decoration 
may  be  accomplished  by  the  use  of  simple  and  generally  most 
inexpensive  fabrics:  when  others  from  medium  cost  to  a  fair 
degree  of  expense  are  added,  our  facilities  in  the  directions  of 
colour,  pattern,  and  richness  of  texture  are  greatly  increased. 
Still  omitting  the  most  costly  stuffs  there  are  such  things  as 
armures,  mohair-velvets,  corduroys,  the  always  delightful 
taffeta  silks,  the  cheaper  tapestries,  damasks,  brocades,  and 
velvets,  which  nevertheless  are  exceedingly  good,  charming 
designs  and  colourings  in  poplins  and  the  better  class  of 
printed  linens,  cretonnes  and  chintzes. 

Such  a  settee  as  that  in  Plate  2  when  upholstered  in  ruby 
mohair- velvet  or  tapestry  becomes  a  handsome  piece.  On  the 
simple  styles  corduroy  is  excellent;  while  the  armures,  silks, 
damasks,  and  brocades  may  be  used  upon  mahogany  or  some 
decorated  furniture.  Not  only  does  the  type  of  furniture 
determine  the  character  of  its  covering,  but  the  "genius"  of 
this  type  of  furnishing  being  simplicity  and  modernity  it  is 
better  to  avoid  designs  that  are  intricate  or  decidedly  historic. 
It  is  difficult  to  lay  down  a  boundary  line  in  the  latter  respect, 
especially  as  many  modern  textiles  have  at  least  a  period 
basis;  one  must  trust  a  good  deal  to  his  own  sense  of  fitness. 

In  drawing-rooms  (perhaps  small  rooms  of  this  character 
may  best  be  termed  reception-rooms)  where  handsome  cover- 
ings are  employed,  it  is  a  good  plan  to  supply  slip-coverings 
of  figured  or  plain  glazed  chintz  for  informal  use;  these  are 
attractive  in  themselves,  are  a  great  protection  to  the  up- 
holstery, and  afford  variety. 


PLATE  55 


STRIPED  AND  FLOWERED  BLOCK-PRINTED  LINENS,    50  INCHES  WIDE 

With  grounds  of  Medium  Blue,  Slate  Grey,  and  Mulberry  Rose  with  vari-colored  stripes  and  flowers 

Pattern  shown  here  one-third  actual  size 


PLAIN  CHECK  CRETONNE,   BLOCK-PRLNTED,   31  INCHES  WIDE 

Grey,  Dark  Rose,  Gold,  and  Mulberry  checks  on  White  ground 

Pattern  shown  here  one-third  actual  size 

Both  Printed  in  England  exclusively  for 
B.  Altman  4  Co.,  New  York 


MOHAIR  VELVET  IN   QUIET  ORANGE  WITH   BLACK  STRIPE  2%  INCHES  WIDE 
By  Courtesy  of  L.  C.  Chase  &  Co.,  Boston,  Mass. 


PLATE  56- 


Sold  by  A.  L.  Diament  *  Co..  Philadelphia  and  New  York 
FRENCH  CHINTZ  IN   ODD  COLOURING 

Background,  yellowish  grey.     Figures,  cerise  and  purple.     Flowers,  cerise  and  burnt  orange.     Leaves,  green. 
56  in.  wide.     Half  breadth  shown 

FRENCH  GLAZED  CHINTZ 

Background,  bright  rose  pink.    Figures  and  some  details,  yellow.    Touches  of  light  blue,  red-brown  and  white. 
50  in.  wide.     Half  breadth  shown 


MODERN  FURNISHING,  MEDIUM  COST         165 

It  is  in  the  nature  of  things  that  stocks  of  textiles,  and 
particularly  of  imported  textiles,  should  continually  change; 
but  it  is  also  to  be  said  that  usually  there  is  something  of 
similar  nature  to  take  the  place  of  anything  discontinued  and 
unobtainable.  The  materials  illustrated  act  as  a  guide,  even 
though  in  course  of  time  they  may  be  succeeded  by  other 
designs;  and  without  reference  to  actual  goods  it  would  often 
be  impossible  to  be  sufficiently  concrete  for  real  helpfulness. 
Writing  of  unusual  designs,  not  to  be  found  in  every  shop, 
would  be  entirely  useless  without  giving  the  reader  an  op- 
portunity of  seeing  their  character  and  appreciating  their 
difference;  when  they  are  illustrated  he  may  purchase  some- 
thing of  like  nature  if  he  does  not  choose  these  or  if  the  stocks 
have  become  exhausted. 

Mere  fashion — the  demand  and  the  decree  that  there 
shall  constantly  be  something  "new",  though  perhaps  no 
better — is  responsible  for  much  annoyance  in  this  respect. 
Intrinsic  style  is  a  different  affair  and  the  last  words  of  this 
volume  will  be  given  to  this  very  subject. 

IV 
DEVELOPMENT  BY  FURNITURE 

Furniture  still  simple  in  its  lines  but  of  more  expensive 
character  will  enlarge  the  scope  of  Modern  decoration.  Ex- 
cept for  settees  we  have  not  yet  employed  upholstered  pieces. 
Clumsy  overstuffed  chairs,  as  well  as  those  "Morris"  chairs 
which  contain  a  vast  quantity  of  lumber,  should  distinctly 
be  avoided  in  the  small  house  or  apartment;  but  the  "thin- 
armed"  sofas  and  chairs  and  the  "wing"  chairs  are  often 
appropriate  and  desirable.  A  fine  example  of  the  former 
is  shown  in  Plate  84  and  of  the  latter  and  a  love-seat  in 
Plate  112. 

Neither  have  we  as  yet  touched  upon  the  living-room 
which  also  must  serve  as  a  reception-room,  and  which  there- 


166         THE  SMALL  HOUSE  AND  APARTMENT 

fore  is  desired  to  contain  rather  handsomer  furniture  than 
that  so  far  considered.  This  may  be  realised  by  such  types  as 
are  shown  in  Plate  125  in  addition  to  the  sofas  just  mentioned. 
As  gate-leg  tables,  Windsor  chairs,  and  four-post  beds  are 
distinctly  historic  and  yet  are  appropriate  to  Modern  fur- 
nishing, because  of  their  simple  character,  so  these  pieces  of 
Dutch  origin,  whether  by  way  of  Queen  Anne  or  of  modern 
derivation,  are  equally  available.  The  arch-back  chairs 
have  a  quaintly  formal  air  and  the  pieces  in  printed  linen  are 
delightful.  The  chaise-longue  or  reading-couch  would  be 
charming  at  a  window,  and  not  less  so  at  the  foot  of  twin 
beds  in  a  bedroom. 

The  use  of  such  pieces  as  have  now  been  mentioned, 
together  with  a  good  book-case  and  desk  such  as  those  in 
Plate  57,  console  table  and  a  seating-stool  or  two,  will  insure 
an  attractive  result  and  will  also  be  a  departure  from  the 
method  of  furnishing  by  suite.  This  latter  is  an  advantage 
that  cannot  always  be  obtained  in  comparatively  inexpen- 
sive furnishing.  The  Farthingale  chair  and  table  above  it  in 
Plate  107  are  also  useful  in  the  same  way.  How  such  uniform- 
ity may  be  broken  up  in  the  dining-room  has  already  been 
shown;  it  is  more  difficult  in  bedrooms,  as  such  furniture  is 
generally  made  in  suites,  but  the  introduction  of  an  odd  piece 
or  two — such  as  the  chaise-longue  already  mentioned — will 
obviate  monotony.  A  box-seat  with  an  attractive  piece  of 
drapery  thrown  over  it  is  another  possibility.  Many  bed- 
room sets  are  now  made  with  the  alternative  "vanity" 
bureau.  Not  one  of  them  will  be  illustrated  in  these  pages: 
their  very  form  is  almost  sure  to  produce  top-heaviness  in 
design,  and,  as  a  friend  of  the  writer's  pertinently  or  imperti- 
nently remarks:  "They  seem  to  go  with  powdered  noses." 

While  upon  the  subject  of  bedrooms  it  may  be  said 
that  if  there  should  happen  to  be  a  slight  recess  in  the  wall 
where  the  head  of  the  bed  is  to  go — unfortunately  it  is  sel- 


PLATE  57 


Manufactured  by  Davies-Putnam  Co.,  Grand  Rapids,  Mich. 

DESK.     Height,  40  in..  Width,  J4  in. 

LIBRARY  TABLE.     Length,  54  in..  Width.  ?8  in. 

BOOK-CASE,     Height,  50  in..  Width,  48  in. 

MAHOGANY 

Also  Solid  Mahogany  Gate-leg  Tables  with  octagonal,  elliptical 
and  circular  tops  and  in  various  sizes 


PLATE  58 


Manufactured  by  Northern  Furniture  Co.,  Sbeboygan,  Wis. 


REPRESENTATIVE  PIECES  FROM   3   BEDROOM   SUITES  OF  MAPLE 
FINISHED   IN   OLD  IVORY  ENAMEL 


PLATE  59 


Manufactured  by  Northern  Furniture  Co.,  Sheboyean,  Wis. 
BEDROOM  SUITE  IN  FRENCH  GREY,   STRIPED  WHITE 
Also  in  Antique  Mahogany  and  American  Walnut 

BEDROOM  SUITE  IN  ANTIQUE  MAHOGANY  OR  AMERICAN  WALNUT 
CHILD'S  BEDROOM  SUITE  IN   DECORATED  IVORY  ENAMEL 

Representative  pieces  from  3  Suites 


PLATE  59  A 


A   SMALL,    INEXPENSIVE  ENCLOSED  PORCH 
A  Japanese  lantern  used  over  the  electric  light 


PLATE  59  B 


A   BREAKFAST-ROOM    FOR  ALL-THK-YEAR  ROUND   USE 

Painted  furniture,  plain-tone  rug,  and  rep  curtains 


MODERN  FURNISHING,  MEDIUM  COST         167 

dom  the  case — this  recess  may  be  draped  attractively  at  top 
and  sides. 

Other  bedroom  suites  are  illustrated  in  Plates  58  and  59. 
The  first  of  these  are  not  strictly  Sheraton,  Hepplewhite  or 
Louis  XVI,  but  all  are  of  simple  generally  Neo-Classic  design. 
They  therefore  occupy  a  middle  ground,  and  may  without 
incongruity  be  used  both  in  Period  houses  and  in  Modern 
furnishing.  The  set  for  the  small  child  is  also  excellent  and 
its  ivory  enamel  may  readily  be  cleaned  with  a  damp  cloth. 
One  of  the  other  sets  is  to  be  obtained  in  French  grey,  which 
is  less  usual  than  ivory;*  another  is  supplied  in  both  American 
walnut  and  antique  mahogany  finish.  The  lines  of  all  are 
graceful  and  refined. 

Whenever  it  is  possible  so  to  do  the  bedroom  should  be 
used  for  retiring  purposes  only,  and  other  occupations, 
such  as  sewing,  kept  out.  This  is,  however,  not  always 
possible  in  small  premises.  Bachelors  or  maids  may  indeed 
be  obliged  to  use  one  room  for  almost  everything;  in  such 
cases  the  day-bed  will  prove  an  institution. 

V 
ADDITIONAL  ROOMS 

As  has  been  remarked,  the  adjective  "small"  as  applied 
to  the  house  is  an  elastic  term,  and  the  same  is  true  of  apart- 
ments. There  may  frequently  exist  in  these  larger  premises 
opportunities  not  yet  considered,  or  but  partially  so,  such  as 
rooms  which  may  be  used  as  the  separate  drawing-  or  recep- 
tion-room, morning-rooms,  card-rooms,  boudoirs,  especially 
effective  guest-chambers  and  sun-rooms.  Some  schemes  and 
suggestions  for  these  will  follow  in  the  next  Section  but  two 
very  attractive  simple  sun-rooms  are  illustrated  here  (Plates 
S9A  and  59B). 

*Ivory  furniture  has  been  a  good  deal  overdone  in  America  of  recent  years  and  grey, 
darker  tones,  or  natural  wood  is  at  present  preferable. 


CHAPTER  III 

MODERN  FURNISHING  OF  BROADER  SCOPE  AND 
SOMEWHAT  GREATER  EXPENSE 

WE  may  now  precede  to  use  the  facilities  so  far  consid- 
ered— or  rather  some  of  them;  for  enough  has  now 
been  mentioned  in  the  way  of  varied  wall-treatments,  textiles, 
furniture  and  colourings  to  furnish  a  large  number  of  homes 
or  apartments. 

RECEPTION-LIVING-ROOM 

We  will  begin  here  as  the  key  to  the  rest  of  the  premises, 
making  several  suggestions  to  meet  various  necessities. 

These  two  purposes  maybe  combined  in  the  one  room; 
or  the  reception-room  used  as  the  more 'formal  room,  and 
treated  as  will  be  mentioned,  and  another  selected  as  a 
combined  living-  and  sewing-room.  The  latter  would  then 
contain  some  wooden  furniture  and  some  wicker,  with 
chintz  or  printed  linen  for  the  wicker  and  plain  colouring 
for  the  wooden  seating-furniture.  Comfort  should  partic- 
ularly be  considered  here  but  the  room  may  be  made  charming 
and  bright  as  well. 

In  either  case  for  the  reception-room  we  may  use  some 
such  furniture  as  the  upholstered  pieces  in  Plate  60  or  those 
of  walnut  of  Dutch  origin  pictured  in  Plate  1 25.  Upholstered 
furniture  is  generally  sold  in  denim,  the  handsomer  covering 
and  the  labour  of  putting  on  being  extra.  Furniture  manu- 
facturers of  the  best  class  are  in  close  touch  with  the  dis- 
tributors of  fine  fabrics  and  naturally  take  much  interest  in 
the  coverings  that  are  to  accompany  their  product.  Or,  the 
pieces  may  be  bought  in  denim  and  the  householder  make 
his  own  purchases  of  textiles,  having  the  upholstering  done 
by  his  usual  local  man. 

In  the  case  of  the  three  lower  pieces  on  Plate  1 25  the 
covering  shown  is  a  fine  English  linen  with  black  ground, 

168 


PLATE  60 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Mich. 
EARLY   COLONIAL  SIDE  AND  ARM   CHAIRS  IN  MAHOGANY 

This  style  is  sometimes  called  Pilgrim  Furniture.      Dutch  origin 
Side  Chair,  Height  39  in..  Width  21  in.     Arm  Chair,  Height  35  in..  Width  22  in. 

WALNUT  CHAISE  LONGUE  AND  ARM  CHAIR,   EARLY  COLONIAL  MOTIF 

Down  Cushions 
I'.haiit  l.onfiir.  Height  35  in..  Length  60  in..  Chair.  Height  ll'A  in..  Width  25  in. 


PLATE  61 


"TYROL"   BEDROOM  SET 


"SPANISH   PEASANT"    BEDROOM  SET 
Made  and  Sold  by  Erskine-Danforth  Corporation,  New  York 


PLATE  62 


Made  and  Sold  by  Erskine-Danforth  Corporation,  New  York  City 
"CARLTON"    BEDROOM   SET 


MODERN  FURNISHING,  MEDIUM  COST        169 

rose  and  cream  Hawthorne  blossoms,  and  rose  piping  on  all 
seams.  Nothing  could  well  be  more  charming.  The  manu- 
facturers also  use  on  these  pieces  cretonne  or  chintz,  small- 
figured  or  plain  silk  or  taffeta,  or  glazed  English  chintz.  All 
are  appropriate.  For  this  scheme  the  first  would  be  very 
attractive;  or,  if  a  chintz  is  chosen,  then  one  which  contains 
blue  and  some  shade  of  modified  red.  It  would  be  almost 
sure  to  have  also  some  green  and  tan  in  the  foliage. 

As  there  would  already  be  a  sufficiency  of  pattern  in 
either  of  the  above,  the  arch-back  chairs  and  wing-chair 
in  Plate  112  should  if  used  be  in  plain  colour — in  the  first 
instance  a  rose  velour  that  would  properly  accompany  the 
rose  of  the  hawthorne  linen.  Pursuing  this  keynote  we  may 
employ  solid  black  rugs,  carrying  out  the  background  of  the 
linen.  These  black  rugs  are  very  smart. 

In  any  case,  the  wall-treatment  suggested  for  the  entire 
premises  is,  this  time,  a  straw-colour;  and  for  this  room  let  it 
have  ivory  white  woodwork  and  perfectly  plain  ivory  white 
panels  like  those  in  Plate  71  with  a  wide  band  of  the  same  to 
mark  off  a  dado,  the  latter  being  of  the  plain  straw-colour. 
This  may  be  either  in  paint  or  paper,  preferably  the  former. 
If  the  reader  does  not  care  to  "go  in  for"  even  so  simple  a 
treatment,  the  walls  may  be  papered  a  perfectly  plain  straw- 
colour,  or  a  straw  and  ivory  white  perpendicular  stripe  of 
fair  width — say  two  inches.  As  we  have  an  abundance  of 
rose,  the  hangings  at  doors  and  windows  would  better  be  of 
quiet  old  blue  damask  or  velour.  The  lamp  shade  may  be 
of  champagne  silk  with  black  edging  (see  that  in  Plate  2)  or 
of  parchment  with  rose,  dull  blue,  and  black,  or  rose  and  green 
decoration — this  being  very  simple  and  conventional,  so  as  not 
to  conflict  with  the  strong  pattern  of  the  hawthorne  design. 

If  chintz  with  blue  and  any  modified  red  is  employed 
then  the  other  chairs  may  be  in  solid  blue  and  the  hangings 
of  a  quiet  old  gold.  Black  rugs  would  still  be  excellent — or 


170         THE  SMALL  HOUSE  AND  APARTMENT 

a  warm  dark  shade  of  taupe.  With  either  furnishing  use 
brass  candlesticks,  cream  candles  and  creamy  yellow  pottery. 

Another  scheme,  totally  different  in  every  respect  expect 
the  walls,  will  now  be  provided  for  the  second  triad. 

Turning  back  to  Plate  14  the  simple  furniture  there 
shown  may  be  made  handsome  by  appropriate  treatment. 
It  may  be  stained  "silver  grey",  which,  as  mentioned,  is 
notwithstanding  the  term,  in  these  stains  warm  in  tone. 
On  this  may  be  used  the  Chase  Mohair  Velvet  of  a  back- 
ground shading  from  quiet  orange  to  a  lighter  and  yellower 
tone  and  with  a  broad  black  stripe  (Plate  55).  An  alterna- 
tive is  burnt-orange  or  copper-colour  in  the  same  goods. 
With  either  use  cushions  of  plum-coloured  velour  and  the 
same  for  hangings.  Let  the  rugs  be  of  sage  green  and  use 
several  copper  bowls  as  accessories.  If  not  readily  obtain- 
able, then  orange  pottery,  candlesticks  with  cream-coloured 
candles  and  an  orange  bowl  rilled  with  natural  or  artificial 
nasturtiums.  This  will  make  a  decidedly  rich  and  unusual 
room  for  the  reception  of  one's  guests. 

THE  HALL 

The  hall  being  the  entrance  to  the  room  above  consid- 
ered as  the  keynote,  it  should  partake  of  the  characteristics 
of  whichever  scheme  is  selected.  The  hangings  suggested 
will  in  each  case  provide  one  of  the  colourings  and  the  others 
accompanying  them  should  be  added  in  the  remaining  fur- 
nishings and  accessories.  The  procedure  was  shown  in  the 
first  hall  described  in  inexpensive  furnishing. 

THE  DINING-ROOM 

One  of  the  finishes  of  the  set  already  shown  in  Plate  45 
is  very  dark  with  a  handsome  but  restrained  Japanese  raised 
ornamentation.  This  may  be  employed,  or  the  same  set  in 
walnut,  or  something  else  of  similar  nature. 


MODERN  FURNISHING,  MEDIUM  COST         171 

With  the  first  scheme  we  have  blue  hangings,  and  let  us 
retain  the  black  rugs  for  this  room  also.  The  furniture  and 
rugs  being  dark,  we  may,  for  the  chair  seats,  for  instance,  use 
the  third  heavy  French  cotton  shown  on  Plate  46.  The  col- 
ouring here  is  rose-red,  orange,  blue,  and  yellow,  but  the 
tones  are  quiet  and  the  combination  rich  and  harmonious. 
The  decorations  of  the  buffet  and  mantel  should  carry  out  in 
plates,  bowls,  and  candlesticks  some  of  these  tones.  The 
screen  could  be  a  tawny-yellow  or  old  gold.  Some  slight 
amount  of  neutralised  green  might  appear  among  the 
accessories. 

For  the  second-triad  living-room  plum  hangings  were 
provided,  with  grey  furniture  and  sage  green  rug.  For  this 
room  retain  two  of  these  and  use  the  same  furniture  but  in 
the  soft  grey  with  brown  and  white  stripe.  This  will  beauti- 
fully accord  with  the  walls,  hangings,  and  rug.  The  seats 
might  be  of  the  second  stripe  shown  in  Plate  46 — linen  grey 
with  narrow  emerald  green,  black  and  orange  stripes.  This 
same  material  would  make  a  very  smart  screen.  Dull  yellow 
or  dull  orange  plates  with  candlesticks  of  amethyst  glass  or 
pottery  and  cream  or  white  candles  will  complete  a  hand- 
some interior. 

Sometimes  a  second-triad  scheme  suggested  here  for  a 
certain  room  may  particularly  appeal  to  the  reader,  so  that 
he  would  like  to  use  it,  though  for  his  general  furnishing  he 
prefers  the  first-triad  combinations;  or  the  reverse  may  be 
the  case.  Such  substitutions  may  easily  be  made,  for  it  is 
always  to  be  remembered  that  the  hues  of  the  second  triad 
are  the  secondary  colours  composed  of  mixtures  of  the  pri- 
maries of  the  first  triad — i.e.  green  =  yellow  +  blue;  orange  = 
yellow  +  red,  and  violet  =  red  +  blue. 

The  strongest  powers  of  all  these  hues  together  would 
frequently  "fight",  but  their  modified  tones  usually  go  ami- 
cably one  with  another.  Enter  the  establishment  of  a  deco- 


i;2         THE  SMALL  HOUSE  AND  APARTMENT 

rator  of  the  highest  class  and  one  will  there  find  furniture  of 
various  descriptions  with  coverings,  cushions  and  accessories 
of  different  hues :  it  is  often  but  a  collection  of  merchandise, 
not  an  interior  laid  out  upon  a  colour-scheme,  and  yet  there 
is  little  if  any  conflict,  because  the  hues  are  more  or  less  neu- 
tralised and  not  pure. 

Suppose  then  that  the  reader  prefers  the  rose  hawthorne 
scheme  for  the  reception  room,  but  would  like  to  use  the 
last  described  colouring  for  his  dining-room — how  shall  he 
manage  it  ? 

He  will  have  in  the  doorway  the  hanging  belonging  to 
the  first  scheme,  which  would  continue  the  note  of  old  blue 
into  the  dining-room.  Plum  would  then  be  absent  and  if  it 
is  desired  the  hanging  at  the  one  door  would  require  double- 
facing,  plum  being  used  on  the  dining-room  side.  This 
combination  would  need  to  be  carefully  chosen :  we  have  seen 
in  the  section  on  Colour  that  tones  different  but  not  greatly 
different  are  apt  to  conflict,  and  that  this  is  especially  the  case 
with  blue  and  its  combinations.  A  blue-plum  might  there- 
fore not  be  found  to  answer,  whereas  one  containing  consid- 
erable red  would  agree — it  would  depend  very  much  upon 
the  particular  tone  of  old  blue  employed. 

The  other  features — sage  green  rug,  grey  furniture  and 
striped  material — should  now  be  accompanied  by  some 
touches  of  rose  and  the  old  blue  in  order  to  unite  the  two 
rooms.  This  may  easily  be  done  by  supplying  accessories 
containing  these  colours. 

SUN-ROOM 

If  this  is  unprotected  it  must  be  treated  as  a  porch  and 
only  materials  undamageable  by  weather  employed.  We 
shall  therefore  consider  that  which  is  properly  a  room,  it 
being  provided  with  glazed  sash. 

Let  us  get  from  such  a  practically  out-door  room  all 


MODERN  FURNISHING,  MEDIUM  COST        173 

possible  service — general  lounging  use  and  the  serving  of 
meals  as  often  as  convenient.  Nevertheless,  for  the  former 
purpose  all  traces  of  the  latter  should  be  absent.  A  gate-leg 
table  in  sensible  dark  oak,  or,  as  will  presently  appear,  pre- 
ferably painted  or  lacquered  in  brilliant  black,  will  supply  a 
centre-table  or  may  be  stood  back  against  the  wall  if  there  is 
dancing,  or  when  room  is  required  for  other  purposes.  Japa- 
nese cocoa-matting  or  other  such  rugs  with  a  black  border 
will  be  excellent,  accompanying  these  with  a  wicker  settee 
and  such  easy  chairs  as  the  Chinese  hour-glass  and  the  very 
low  extraordinarily  deep  wicker  yarieties.  Luxurious  cush- 
ions may  be  covered  with  something  of  the  nature  of  the 
black-ground  French  linen  with  carmine-red  and  touches  of 
cream  and  grey-blue  shown  in  Plate  40.  We  read  much  of 
the  cool  colours  for  country  use;  there  is  an  abundance  of 
green  outside;  what  is  needed  here  is  contrast.  The  black 
will  hold  down  the  red.  On  the  table  use  crossed  strips  of 
heavy  linen  crash  banded  either  with  black  or  a  strip  of 
carmine,  and  place  at  the  centre  an  attractive  plant  or  bowl 
of  congruously  hued  flowers. 

This  table  will  of  course  answer  in  its  season  for  the  serv- 
ing of  meals,  and  dishes,  linen  and  other  requisites  may  be 
stored  in  an  attractive  cupboard  or  closed  cabinet  likewise 
in  oak  or  brilliant  black,  set  against  the  wall.  On  this  may  be 
placed  a  lamp  or  a  few  colourful  odd  ornaments.  If  a  lamp 
is  preferred,  a  Japanese  bowl-lamp  with  wicker  over  the 
pottery  will  be  appropriate.  This  might  be  of  grey,  cream  or 
carmine-red  and  a  Japanese  paper  shade  to  agree,  with  black 
edging.  With  the  red  lamp  a  grey  shade  will  be  best.  An 
excellent  lighting-facility  is  the  lantern  over  an  electric  light 
appearing  in  Plate  59A. 

All  napery  and  china  for  outdoor  use  should  be  attrac- 
tive but  informal. 

But  let  us  supply  an  alternate  colouring.     Note,  for  in- 


174         THE  SMALL  HOUSE  AND  APARTMENT 

stance,  the  strong,  rich  blue  linen  with  black  and  white  zigzag 
stripe  shown  in  Plate  38.  This  would  be  admirable  for 
cushions,  and  other  details .  should  then  agree.  But  the 
shading  for  a  light  should  never  be  blue,  as  its  effect  is  ghastly: 
cream,  linen-colour,  yellow,  or  orange  is  there  correct,  though 
any  of  these  may  contain  some  decorative  notes  of  blue. 

BOUDOIR 

We  have  the  straw-coloured  walls,  panelled  or  plain  as 
preferred.  There  will  be  a  day-bed,  settee  or  chaise-longue, 
this  giving  an  opportunity  for  the  use  of  a  large  pattern. 
Plate  39  shows  a  very  beautiful  printed  linen  with  ground  of 
soft  rose-pink  with  flowers  and  a  very  broad  waved  band  in 
cream,  buff  and  brown.  This  may  if  desired  be  used  for  the 
seating-furniture,  all  furniture  being  ivory,  cream,  or  grey. 
A  rug  of  light  buff-brown,  thus  combining  the  two  other 
colours  of  the  linen  might  be  chosen.  Blue  is  not  yet  pro- 
vided for  and  it  must  be  unobtrusive:  greyed  blue  pottery 
and  brass  candlesticks  will  be  in  order.  A  grey-blue  painted 
console  or  cabinet  with  quaint  rose,  cream,  buff,  or  brown 
decorations,  and  a  seating-stool,  or  the  odd  little  chair  in 
Plate  23  with  the  same  colouring  would  be  more  individual. 
The  decoration  of  these  should  be  simple,  so  as  not  to  con- 
flict with  the  strongly  patterned  linen;  striping  and  a  flower 
copied  from  the  linen  would  be  the  best  motif.  A  plain 
taffeta  silk  of  the  rose  of  the  linen  might  constitute  the  win- 
dow-hanging and  the  same,  faced  on  the  outside  with  grey  or 
cream,  at  the  hall  door. 

WOMAN'S  BEDROOM 

A  bedroom  communicating  with  the  boudoir  should  be 
uniform  but  not  precisely  identical.  It  seems  preferable  to 
keep  the  window-treatment  uniform,  so  the  linen  may  be 
employed  for  the  bedspread  and  one  large  easy  chair,  and  the 


MODERN  FURNISHING,  MEDIUM  COST        175 

taffeta  for  smaller  chairs  and  under  the  plate-glass  top  of  the 
dressing-table. 

Another  most  attractive  material  for  use  in  both  rooms 
would  be  the  French  glazed  chintz  illustrated  in  Plate  56. 
This  is  rather  more  striking,  but  is  nevertheless  of  delightful 
design  and  individual  colouring.  The  background  is  of  bright 
rose  pink  while  the  figures  and  some  details  are  yellow  with 
touches  of  light  blue,  red-brown,  and  white.  This  would  go 
admirably  with  the  walls.  In  order  to  avoid  too  much  of  a 
good  thing  ecru  could  be  used  for  the  hangings. 

SECOND  BEDROOM 

If  for  a  woman's  use  only,  then  ivory,  cream,  grey, 
mahogany,  or  walnut  furniture :  if  sometimes  used  for  a  male 
guest,  then  the  latter  three  only.  Sage  green  rug  and  deep 
raspberry  upholstery — taffeta  or  velour  for  a  woman,  and 
velour  or  corduroy  for  a  man.  Raspberry  and  blue  or  sage 
green  striped  taffeta  at  the  windows.  Ecru  Webster  Poplin 
Style  2036  door-hangings.  If  used  for  a  young  girl's  room 
the  light  furniture  might  have  a  charming  restrained  decora- 
tion in  raspberry,  sage  green,  and  blue,  with  a  little  buff. 

MAN'S  BEDROOM 

One  of  the  textiles  here  illustrated  is  of  the  oddest 
possible  character  and  the  conservative  man  would  have 
none  of  it.  The  more  adventurous  spirit  will,  however,  be 
intrigued  by  it  and  it  is  really  delightful  and  so  deserves  con- 
sideration. It  is  shown  on  Plate  56,  the  French  chintz  of 
yellowish  grey  background  with  cerise,  purple,  and  burnt 
orange.  No  people  other  than  the  French  could  successfully 
carry  off  such  a  combination.  Its  use  should  not  of  course 
be  overdone,  but  it  is  a  very  good  thing  in  its  place.  That 
place  would  be  the  upholstery  of  a  big  easy  chair  and  one  odd 
chair.  The  rest  of  the  seating  furniture  would  be  in  purple 


176         THE  SMALL  HOUSE  AND  APARTMENT 

velour  or  corduroy,  quieter  than  the  purple  of  the  chintz  but 
properly  accompanying  it,  this  being  also  used  at  the  door- 
way. If  there  is  a  settee  the  cushions  may  be  of  the  chintz 
and  the  odd  chair  be  omitted  or  upholstered  in  the  velour. 

A  sage  green  rug  would  agree  with  the  background  and 
would  be  restful.  Cream  or  ecru  thin  window-curtains 
would  be  sufficient. 

This  colour-scheme  partakes  of  both  triads.  If  any 
blue  at  all  is  introduced  it  should  be  in  the  direction  of  some 
small  objects  in  very  dark  ultramarine  or  midnight  blue. 

The  same  scheme  without  the  chintz  could  be  adopted. 
Some  notes  of  tawny  yellow  would  then  take  the  place  of  the 
orange  in  the  chintz  and  the  room  would  be  a  quiet  version 
of  the  second  triad. 

JOINT  BEDROOM  IN  THE  FIRST  TRIAD 

An  excellent  bedroom-set  for  a  room  occupied  by  hus- 
band and  wife  would  be  one  of  the  nature  of  that  in  walnut 
illustrated  in  Plate  59.  We  have  not  as  yet  stressed  the 
yellow  note  and  we  may  here  do  so  quietly.  The  French 
linen  on  Plate  39  is  a  symphony  in  buff,  tan,  and  yellow  with 
touches  of  grey-blue  and  green — an  excellent  beginning,  har- 
monising well  with  the  walls  and  furniture.  It  has  fair 
strength  and  would  be  well  accompanied  with  a  rug  in  medium 
or  darkish  blue,  not  too  bright.  The  lamp-shade  and  that 
over  the  dressing-table  should  harmonise  with  the  linen, 
which  would  be  used  at  the  window  and  on  an  easy  chair. 
The  remaining  chairs  may  be  covered  in  plain  material — such 
as  taffeta  or  an  armure — in  any  of  the  tones  of  the  linen  pre- 
ferred. Some  modified  red  should  now  be  introduced,  and 
this  might  be  of  a  soft  creamy  rose.  It  should  be  noted  that 
the  thin  curtains  at  the  windows  prevent  the  over-curtains 
from  being  seen  from  the  outside,  so  that  is  is  not  necessary 
that  all  the  windows  of  the  house  or  apartment  be  treated 


MODERN  FURNISHING,  MEDIUM  COST        177 

in  the  same  colour.  A  uniform  scheme  in  this  respect  would 
not  only  be  hampering  in  the  furnishing  of  the  various  rooms 
but  in  large  properties  would  become  exceedingly  monotonous. 

GUEST-ROOM 

Unless  a  guest-chamber  is  never  to  be  occupied  by  a  man 
it  is  difficult  to  understand  the  frivolous  femininity  usually 
prescribed  for  its  furnishing.  Plate  12  has  the  correct  at- 
mosphere, and  this  may  be  equally  well  secured  through  the 
employment  of  the  Modern  method.  It  is  better  that  the 
room  should  contain  two  beds,  as  here,  if  practicable. 

The  essence  of  hospitality  is  seeing  that  guests  are  en- 
abled to  do  what  they  personally  wish  and  certainly  this  will 
include  a  little  rest  and  privacy.  Doubtless  they  would  pre- 
fer to  write  letters  in  their  own  room,  hence  a  desk  with  all 
possible  conveniences  should  be  provided — stationery,  desk- 
calendar  and  clock,  time-tables,  pencils,  pens,  ink,  blotters, 
paste,  scissors  and  a  waste-basket. 

A  chaise-longue  or  big  easy  chair  will  give  opportunity  for 
rest.  Additional  bed-coverings  should  be  handy,  according 
with  the  season. 

CARD  ROOM  OR  DEN 

It  is  justifiable  in  such  a  room  to  depart  from  the  usual 
scheme  of  furnishing,  and  indeed  it  is  often  desirable  to  pro- 
vide one  room  in  the  nature  of  a  delightful  surprise,  but  not 
a  shock.  Chinese-red  furniture  may  be  prescribed  here. 

In  imposing  premises  one  may  "go  the  limit"  and  have  a 
decorator  specially  design  such  a  Chinese  room  as  that  by 
Mr.  Palmer  Jones  illustrated  in  Plate  63,  but  in  limited  quar- 
ters one  must  be  more  moderate  in  his  desires.  One  feature 
there  shown  the  writer  would  decidedly  advise — a  divan  with 
down  cushions.  This  could  be  covered  with  some  such  mate- 
rial as  one  of  the  printed  linens  shown  in  Plate  40,  seeing  that 

the  red  chosen  properly  accompanies  the  furniture. 
12 


178         THE  SMALL  HOUSE  AND  APARTMENT 

In  some  American  instances  where  red  furniture  has  been 
suggested,  not  sufficient  care  has  been  exercised  in  keeping 
down  the  amount  of  this  strongly  advancing  colour,  and  red 
and  black  draperies  and  accessories  have  been  prescribed 
also.  To  secure  the  really  decorative  effect  of  any  highly 
ornamental  or  colourful  element  it  should  not  be  overdone, 
but  should  have  abundant  relief.  All  that  is  advisable  beyond 
the  furniture  itself  and  the  one  covering  is  to  carry  this  colour 
elsewhere  in  very  small  portions  by  the  use  of  a  red  bowl 
or  red  candles  or  some  note  of  this  hue  in  connexion  with 
others  in  a  hanging. 

It  is  doubtful  if  any  other  wall  would  be  an  improve- 
ment over  the  straw-colour  provided,  when  aided  as  will 
presently  be  suggested.  A  black  rug  and  lustrous  black  satin 
for  the  chair-seats  would  be  excellent,  and  these  would 
aid  in  holding  down  the  red.  There  are  also  many  modern 
fabrics  in  Chinese  designs  which  could  be  used  for  the  seats 
if  preferred,  but  it  would  be  advisable  to  select  something  in 
a  small  design  and  rather  neutral  colouring,  because  of  the 
feature  the  writer  has  principally  in  mind.  The  fabrics  and 
embroideries  of  the  Chinese  are  wonderful,  and  two  hangings 
of  either  used  upon  the  largest  wall-spaces  would,  with  what 
has  gone  before,  produce  a  rich  and  individual  room.  Some- 
times a  fabric-covered  screen  is  to  be  found  that  may  be 
used  as  an  overmantel  ornament.  These  textiles  are  usually 
of  many  blended  or  combined  hues,  so  that  no  one  colour  is 
greatly  prominent,  and  they  are  of  many  varieties.  The 
best  shops  in  the  Chinese-quarters  of  large  cities,  decorators' 
i  establishments,  and  unusual  shops  are  the  correct  places  to 
look  for  such  accessories.  Naturally  they  are  not  cheap, 
and  some  of  our  modern  textiles  of  Chinese  design  and  varied 
colouring  may  be  substituted  if  necessary. 

With  such  things  upon  the  walls  the  door-  and  window- 
hangings  should  be  plain  and  nearly  agree  in  hue  with  the 


PLATE  63 


MODERN  FURNISHING,  MEDIUM  COST         179 

wall-tone — our  former  friend  the  ecru  Webster  Poplin  or 
something  of  this  nature  might  be  used. 

Attention  is  drawn  to  the  fact  that  in  these  schemes  a 
very  great  variety  of  colour  has  been  obtained :  to  mention  one 
instance  alone,  in  the  modified  red  the  following  have  been 
suggested  in  one  room  or  another:  rose,  mulberry,  coral, 
raspberry,  creamy  rose  and  Chinese  red.  Where  red  brick 
fireplaces  or  walls  obtain,  the  accompanying  red  should  be  of 
that  hue.  In  some  cases  vermilion  or  orange-reds  may  advan- 
tageously be  employed. 

It  has  been  mentioned  that  in  the  tints  prescribed  for 
walls  the  writer  has  been  conservative;  where  the  furnishings 
are  individual  and  colourful  it  is  almost  necessary  that  one 
should  be,  if  the  interiors  are  to  be  sensible,  homelike  and 
restful.  In  the  next  section  a  few  other  tones  will  be  sug- 
gested, but  he  has  purposely  abstained  from  providing  such 
schemes  as  red-orange  walls  with  blue  woodwork,  and  yellow 
walls  accompanied  by  violet  woodwork,  because  he  does  not 
care  to  have  the  householder  come  to  grief.  If  the  reader 
wishes  these  things  he  would  do  well  to  engage  a  decorator 
who  specialises  in  strong  colourings  and  not  himself  attempt 
to  carry  them  through  a  series  of  rooms.  As  previously 
suggested,  where  positive  wall-colouring  is  desired  in  one  or 
two  rooms  it  is  always  possible  to  deepen  and  strengthen  the 
tint  existing  in  the  remainder  of  the  premises,  so  preserving 
unity  of  general  hue  but  securing  a  more  striking  effect.  The 
woodwork  may  then  be  painted  a  contrasting  colour.  Special 
care  will  naturally  be  needed  in  choosing  furnishings. 

The  effect  of  unity  may  be  preserved  even  with  varying 
colourings  provided  they  are  on  the  same  order.  If  the  pre- 
vailing tint  is  a  cool  grey  then  the  walls  of  one  or  two  rooms 
might,  for  example,  be  made  either  a  grey-blue  or  a  pistache 
green  without  disturbing  the  general  scheme. 


CHAPTER  I 

THE  WORK  OF  INTERIOR  ARCHITECTS 
OR  DECORATORS 

THE  highest  development  of  modern  furnishing  may  be 
reached  in  two  ways:  through  the  services  of  interior 
architects  or  decorators  of  individuality  and  skill,  they  sup- 
plying specially  designed  walls,  unusual  features,  colour- 
schemes  and  furniture;  or  by  persons  of  taste  developing 
their  own  surroundings  through  the  aid  of  general  workmen 
and  the  finer  grades  of  furniture,  textiles  and  accessories 
already  on  the  market. 

Each  plan  will  be  considered  in  its  order. 

BRITISH  INTERIOR  ARCHITECTS 

As  the  Modern  method  of  decoration  has  been  pursued 
to  a  greater  extent  in  England  than  in  America,  and  has  there 
been  more  fully  worked  out  as  a  style,  that  development  will 
first  be  considered.  It  can  hardly  better  be  done  than  by 
going  over  the  examples  illustrated  in  this  volume,  as  these 
are  among  the  latest  and  best  work  of  men  who  are  recog- 
nised as  leaders  in  this  direction.  The  pointing  out  of  cer- 
tain features  will  also  be  an  aid  in  making  clear  to  the  reader 
the  principles  of  good  decoration;  for,  though  the  results  are 
so  different  in  appearance,  they  have  been  attained  through 
the  use  of  those  same  fundamental  truths  that  have  been 
tested  by  centuries  of  use. 

It  should  incidentally  be  mentioned  here  that  there  is 
also  a  strongly  developed  Modern  Movement  in  France. 

The  reason  that  it  is  not  fully  treated  and  illustrated  here  is 
1 80 


PLATE  64 


EXTENDING  DINING-TABLE  IN   ENGLISH  WALNUT 
DESIGNED   BY  THE  LATE  ERNEST  W.   GIMSON 


SIDEBOARD  IN  BURRED  ELM  AND   EBONY 
DESIGNED  BY  THE  LATE  ERNEST  W.   GIMSON 

These  are  Reproduced  through  the  Courtesy  of  Sydney  A.  Gimson,  Esq.,  Executor 


PLATE  65 


WARDROBE  IN  WALNUT.   DESIGNED  BY  THE  LATE  ERNEST  W.   G1MSON 
By  Courtesy  of  Sydney  A.  Gimson,  Esq.,  Executor 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     181 

that  if  we  were  to  search  for  the  adjective  best  describing  it 
the  word  entertaining  would  perhaps  be  settled  upon  as  most 
fully  fitting  the  case.  It  is  vastly  intriguing  and  of  decided 
interest;  but,  with  exceptions,  it  is  not  homelike:  it  seems 
to  the  writer  at  least  that  novelty  has  often  been  exploited  at 
the  expense  of  restfulness  and  permanence,  and,  while  it 
would  afford  some  suggestions  to  those  of  other  nations,  this 
decoration  would  require  too  much  adaptation  to  be  of  gen- 
eral value.  The  furniture  does  not  seem  so  good  in  its  lines 
as  the  corresponding  pieces  of  England  and  America,  but 
the  combinations  of  woods  and  the  use  of  colour  and  gold 
thereupon,  in  some  instances,  would  interest  the  designer  of 
special  furniture.  The  colourings  of  the  fabrics  and  their 
combinations  are  often  extremely  odd  and  their  designs 
striking.  More  generally  useful  ones  are  illustrated  here  and 
have  been  mentioned. 

To  return  to  England,  the  writer  wishes  to  set  at  the 
head  of  this  division,  as  a  memorial,  the  name  of  one  among 
the  many  earlier  able  men  who  was  universally  regarded  as  a 
great  designer  of  furniture — Ernest  W.  Gimson,  of  Daneway 
House,  near  Cirencester.  By  the  kindness  and  co-operation 
of  his  brother  and  executor,  Sydney  A.  Gimson,  Esq.,  I  am 
enabled  to  show  three  of  his  characteristic  designs  for  fine 
furniture  (Plate  64  and  65).  At  his  shops  he  gathered  about 
him  a  corps  of  sympathetic  craftmen  who  were  at  one  with 
him  in  the  faithful  carrying  out  of  his  ideals. 

His  work  is  worthy  of  the  closest  study:  monumentally 
strong  in  its  simplicity  of  line,  it  is  handsome  furniture. 
Apparently  departing  in  general  aspect  from  period  pieces  it 
is  nevertheless  based  upon  the  unassailable  principles  of  good 
proportion  and  perfect  balance.  Its  ornament  is  never 
"applied"  but  is  always  structural,  and  consists  of  the  em- 
ployment of  various  woods  and  inlay,  mostly  of  a  conserva- 
tive but  quite  sufficiently  decorative  character.  Indeed  in 


i8z         THE  SMALL  HOUSE  AND  APARTMENT 

the  dining-table  illustrated  it  is  mainly  the  shaping  of  its 
actual  form  which  provides  the  ornamental  character,  and  an 
octagonal  table  recently  illustrated  in  the  London  Furniture 
Trade  Organiser  dispenses  with  even  the  moderate  amount  of 
inlay  here  used  and  is  still,  because  of  its  unusual  struts,  de- 
cidedly interesting.  In  some  cabinets  the  entire  front,  how- 
ever, is  inlaid. 

It  is  a  pleasure  to  be  able  to  say  that  a  volume  will  be 
issued  descriptive  of  the  late  Mr.  Gimson's  life  and  work. 

As  has  been  mentioned,  Mr.  P.  Waals  is  continuing,  at 
Chalford,  Gloucestershire,  the  making  of  furniture  and  joinery 
on  the  same  lines  of  design  and  workmanship,  and  with  the 
help  of  the  same  trained  craftsmen  as  in  Mr.  Gimson's  time. 
He  tells  the  writer  that  he  rarely  makes  duplicates  of  the 
more  elaborate  pieces,  but  that  simple  ones  are  duplicated 
and  made  with  the  same  care  as  to  selection  of  materials  and 
workmanship.  A  few  of  these  are  illustrated  in  Plates  33  and 
34.  He  has  done  work  for  American  as  well  as  for  English 
homes,  as  have  others  whose  work  is  illustrated  here. 

The  fine  work  of  Mr.  Hall  Thorpe  of  London  has  already 
been  presented  and  described  in  Section  I  (Plates  29  and  30). 

The  frontispiece  of  this  volume  is  by  Mr.  Shirley  B. 
Wainwright,  Interior  Architect  working  in  London,  and  this 
and  Plates  8  and  66  are  notable  as  interiors  of  decided  individ- 
uality but  of  such  sane  and  practical  character  that  they 
commend  themselves  for  permanent  use  and  enjoyment. 
Several  of  their  aspects  immediately  impress  one.  They 
illustrate  the  principle  that  it  is  not  needful  that  walls  should 
be  perfectly  plain  in  order  to  remain  backgrounds.  They 
rely  on  balance  and  distribution  of  colour  and  tones  for  effect 
rather  than  on  any  elaboration  of  detail,  and  great  care  is 
evidently  given  to  proportion  and  scale.  The  woodwork  is 
usually  simple  and  economical  in  construction.  The  special 
features  employed  are  of  both  convenience  and  beauty. 


PLATE  66 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     183 

When  one  examines  the  drawing-room  illustrated 
(Frontispiece)  it  is  seen  to  be  of  much  simplicity  and  charm 
while  possessing  a  quiet  elegance  eminently  suiting  it  to  its 
purpose.  He  is  obtaining  some  unusual  effects  with  specially 
designed  patchwork,  of  which  the  settee-cushions  here  and 
the  backing  of  the  recessed  panel  above  the  sideboard  in  the 
dining-room  (Plate  8)  are  examples.  The  woodwork  in  the 
dining-room  is  of  oak  finished  in  a  grey  tone,  and  the  table  is 
composed  of  two  semi-circular  tables,  between  which  an 
oblong  provides  an  extension  when  necessary.  The  furni- 
ture is  of  special  attractiveness  of  design,  and  the  grey  sur- 
faces, occupying  so  large  a  portion  of  the  room,  afford  an 
excellent  background  for  the  stronger  notes  of  colour.  He 
also  provided  an  alternate  scheme,  in  which  the  tones  are 
generally  warmer  and  the  carpet  and  fireplace-surround  of 
strong  blue. 

The  bedroom  (Plate  66)  reverts  to  the  grey  background, 
very  individually  relieved  in  this  case  by  black  and  gold. 
The  doors  are  those  of  wardrobes  built  into  the  walls,  thus 
providing  abundant  hanging  facilities.  A  great  advantage 
of  such  permanent  fixtures,  where  possible,  is  that  the  room 
itself  is  not  cumbered  by  clumsy  and  commonplace  furniture 
and  the  supplementary  pieces  supplied  may  themselves  have 
beauty  and  charm.  All  the  details  of  Mr.  Wainwright's 
schemes  are  carried  out  by  himself  and  his  associates  for  the 
client,  thus  avoiding  the  lifeless  repetition  of  general  styles. 
The  floor-setting  of  the  very  dignified  bed  is  notable.  In 
an  alternate  scheme  here  also  provided  and  where  the  col- 
ouring is  deeper,  the  black  woodwork  is  appropriately  carried 
up  to  form  a  low  wainscot,  and  the  carpet  and  bed-hangings 
are  of  red.  In  these  interiors  the  electric-light  fittings  will 
have  been  observed:  they  are  made  with  wooden  frames, 
painted  decoration,  and  silken  shades  on  wire  frames. 

The  suite  of  bedroom  furniture  designed  by  the  Colour- 


i84         THE  SMALL  HOUSE  AND  APARTMENT 

craft  Company  of  London,  (Plate  67)  is  supplied  through- 
out in  such  alternate  colour-schemes  as  red  and  black,  grey, 
bluish  green  and  indigo,  and  primrose  and  black,  according 
to  the  needs  of  the  client.  This  furniture  is  absolutely  hand- 
made, hand-painted,  and  hand-polished.  When  the  red  and 
black  scheme  with  gilded  decoration  is  employed  it  is  toned 
down  with  a  very  pleasing  effect.  There  is  a  notable  advan- 
tage in  this  suite  which,  whether  intentional  or  not  merits 
indication.  Painted  furniture  is  sometimes  criticised  as 
growing  shabby  with  use.  It  does  not  seem  to  the  writer 
that  with  proper  care  this  reproach  is  deserved,  for  many  old 
painted  pieces  are  still  in  excellent  condition  notwithstanding 
decades  of  use:  but  however  that  may  be,  it  will  be  noted 
that  in  this  suite  all  the  wearing  surfaces — supports  and 
corners — are  in  the  darker  colouring.  Furthermore,  the 
contrast  between  this  and  the  lighter  hues  of  the  body-colour 
is  so  strong  that  even  if  the  latter  should  become  somewhat 
dulled  the  general  effect  would  still  be  one  of  freshness. 

This  Company  not  only  make  furniture  but  such  articles 
required  for  artistic  interior  decoration  as  lamp-standards, 
mirrors,  work-baskets  and  the  like.  They  also  design  and 
execute  appropriate  frames  for  war-memorials. 

The  work  of  Mr.  W.  J.  Palmer  Jones  will  be  of  much 
interest  because  of  several  characteristics;  which  character- 
istics might  be  studied  to  their  advantage  especially  by  some 
writers  exploiting  Modern  decoration.  The  elements  of 
colour  and  novelty  will  immediately  be  perceived,  but  less 
evident  to  the  casual  observer  will  be  the  strong  construc- 
tional qualities  of  his  backgrounds,  combined  with  elegance 
in  some  interiors  and  absolute  severity  in  the  design  of  the 
hall  (Plate  69).  The  householder,  or  the  decorator,  who 
expects  with  colour  alone  to  accomplish  interior  decoration 
may  learn  a  few  lessons  from  these  interiors. 

The  lounge-room  design  (Plate  68)  possesses  decided 


PLATE  67 


PLATE  68 


AN   ORIGINAL  LOUNGE-ROOM   DESIGNED   BY  W.   J.    PALMER  JONES.   LONDON 

Walls  white  with  dotted  panelling  and  fawn  trim.  Decorations  black.  Ceiling  and  floor  violet-blue.  Carpet  black. 

Hanging  light  and  lamp-shade  dull  rose.  Hanging  to  alcove  fawn,  Furniture  pale  green. 

Covering  yellow  ground  with  blue  stripes 

Illustration  by  Courtesy  of  the  Architect  and  the  London 
Furnishing  Trades  Organiser  in  which  it  appeared 


DINING-ROOM   ELEVATION   BY  \V.  J.   PALMER  JONES 

Yellow  walls.      Black  and  white  decorations  and  furniture 
Blue  lamp  and  bowl.     Orange  shade 


A  HALL  DESIGNED  BY  W.  J.   PALMER  JONES,   LONDON 

Floor  black,  Walls  white.  Woodwork  and  console  grey.  Rug  grey  with  blue,  black  and  emerald  green 

border  lines.  Lantern,  couch,  and  hangings  to  French  door  vermilion, 

other  hangings  emerald  green 

Illustration  by  Courtesy  of  the  Architect  and  the  London 
Furnishing  Trades  Organiser  in  which   it  appeared 


PLATE  70 


Painted  Sideboard 


Krom  a  bedroom  suite  in  whitewood,  stained  blue,  with  black  lines.      Brass  handles,  antique  finish 
FURNITURE  DESIGNED   BY  W.  J.   PALMER  JONES.   LONDON 


PLATE  71 


t-f=f 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     185 

novelty,  but  on  analysis  this  is  found  greatly  to  consist  in 
the  broad-striped  furniture-covering  and  the  colour-combi- 
nation. The  blue  coved-ceiling,  while  rather  unusual,  is 
perfectly  appropriate  to  the  walls.  These,  with  their  fawn 
trim  and  dotted  panelling,  are  at  once  simple  and  "of  an 
elegance,"  and  the  oval  decorations  are  not  less  charming 
than  strong  in  treatment.  In  brief,  then,  while  novelty  is 
the  first  quality  that  meets  the  eye,  a  moment's  thought  will 
show  that  with  lighter  furniture  covered  with  a  narrow  striped 
silk  this  room  would  make  a  most  attractive  drawing-room 
of  Modern  style. 

Akin  to  this  is  the  dining-room  elevation  (Plate  68) 
with  primrose  walls  and  decorations,  this  time  of  upright 
ovals.  The  black  and  white  notes  of  these  are  carried  out 
in  the  furniture,  and,  while  strong  colour  is  supplied  by  the 
lamp  and  bowl,  the  structural  severity  of  their  form  should 
be  observed. 

The  sitting-room  (Plate  71),  while  attractively  "differ- 
ent", shows  how  near  Modern  may  approach  Period  decora- 
tion. The  furniture  is  eighteenth  century  in  character,  and 
the  walls,  though  individual  in  colouring  and  detail,  are 
appropriate  in  feeling.  Modern  touches  are  also  supplied 
by  the  accessories. 

Decorations  in  the  "Chinese  taste"  are  much  in  vogue 
at  present  in  both  countries,  and  the  very  colourful  example 
shown  in  Plate  63  will  therefore  be  of  particular  interest.  The 
constructional  strength  of  the  design  of  the  coved  ceiling  is 
here  also  to  be  observed. 

The  hall  (Plate  69)  contains  much  strong  colour,  but 
this  is  confined  to  the  details,  and  the  architecture  is  not  only, 
as  was  mentioned,  of  great  severity,  but  the  walls  are  white 
with  woodwork  of  pale  grey  and  baseboard  of  black. 

Mr.  Palmer  Jones  designed  the  furniture  shown  in  these 
interiors  and  some  other  attractive  pieces  are  also  illus- 


1 86         THE  SMALL  HOUSE  AND  APARTMENT 

trated  in  Plate  70.  The  sideboard  is  of  the  same  character 
as  that  in  the  wall  elevation  (Plate  68)  but  with  dancing 
figures  in  circles  upon  the  two  side  doors.  The  other  two 
pieces  are  from  a  bedroom-set  in  whitewood  stained  blue  and 
with  black  lines.  The  handles  of  these  are  of  brass  given  an 
antique  finish. 

In  America  where  painted  furniture  is  largely  to  the  fore 
much  more  might  be  done  in  the  directions  of  the  combination 
and  staining  of  various  woods  for  fine  furniture. 

Plates  72-74  illustrate  a  series  of  six  delightful  wall- 
paintings  by  that  versatile  designer  and  painter  Mr.  George 
Sheringham  of  London.  It  will  be  seen  how  justly  the  word 
versatile  has  been  used,  not  only  because  of  the  great  variety 
shown  in  these  decorations  but  when  it  is  mentioned  that  he 
designs  special  rooms,  books,  drawings  for  papers,  stage- 
productions,  textiles,  and  occasionally  posters.  He  is  now 
designing  a  series  of  cretonnes  for  the  largest  English  firm  of 
producers,  and  silks  have  been  one  of  his  specialties.  • 

A  few  years  ago  he  did  a  series  of  large  silk  panels  for 
beautiful  Ilmington  Manor  in  Warwickshire,  and  another  set 
is  now  in  the  possession  of  Lord  Howard  de  Walden  of  Chirk 
Castle,  Wales. 

His  wall-panels  are  usually  employed  as  overmantel 
decorations,  but  some  rooms  have  been  completely  treated 
by  the  use  of  the  fan-panels,  especially  a  room  of  Lady  de 
Walden's  in  which  a  series  of  about  fifteen  are  employed. 
The  illustrated  examples  are  in  the  homes  of  noted  people, 
the  first  being  owned  by  Mrs.  Asquith.  Others  have  been 
exhibited  at  the  Luxembourg,  South  Kensington  Museum, 
and  many  other  famous  institutions. 

The  charming  technique  of  these  paintings  is  well  shown 
in  the  reproductions,  and  the  opportunity  for  wealth  of  colour 
in  such  subjects  as  the  "Zara,"  "Cremorne,"  "Z,  'Apres  Midi" 
and  "The  Vase"  is  immense.  The  decorative  treatment  of 


PLATE  72 


"VAprcs  Midi."     In  the  Collection  of  Mrs.  Asquith 

"The  Vase" 
WALL  DECORATIONS  BY  GEORGE  SHERINGHAM,   LONDON 


PLATE  73 


"Zara  Visits  the  Bazaar" 
Design  for  a  Frieze.     In  the  Collection  of  Edmund  Davis,  Esq. 

"Sea  Flowers."     Overmantel  Panel 
WALL  DECORATIONS  BY  GEORGE  SHER1NGHAM,   LONDON 


PLATE  74 


"Cremorne" 

WALL  DECORATION   BY 

GEORGE  SHERINGHAM 

LONDON 


PLATE  76 


By  Courtesy  of  Good  Furniture  Magazine 

CHINESE  DRESSING-TABLE  IN   BLACK  AND   IVORY  LACQUER 
BY  PIETER  MYER,   NEW  YORK 
The  Drawer-pulls  are  of  carved  ivory 


PLATE  75 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     187 

the  last  and  of  the  quaint,  decades-past  costumes  of  the 
"Cremorne"  is  especially  attractive,  while  the  watery  depths 
of  "Sea-flowers"  make  a  wonderful  overmantel-panel  for  a 
dining-room. 

The  writer's  appreciation  of  Period  furnishing  in  its  lib- 
eral use  will  be  plain,  but  one  with  open  mind  must  perceive 
the  great  desirability  of  the  creation,  also,  of  a  living-style, 
embodying  the  characteristics  of  to-day  and  practically 
adapted  to  its  conditions;  yet  which  shall  march  with  and 
carry  on  the  great  principles  of  the  past  but  with  the  fresh- 
ness, verve  and  individuality  of  our  modern  life. 

It  is  thus  that  new  "styles"  arrive — not  by  an  effort  to 
produce  overnight  something  brand-new  and  never  before 
seen,  evolved  from  one's  inner  consciousness  or  a  bad  diges- 
tion, but,  with  careful  consideration  of  present  needs,  adap- 
ting what  has  gone  before,  carrying  on  the  great  tradition 
and  using  its  elements  in  our  own  individual  way. 

AMERICAN  MODERN  DECORATION 

As  has  been  said,  the  work  of  decorators  in  America  is 
mostly  of  period  character,  inclining  more  each  year  toward 
the  liberal  interpretation  of.  that  manner  of  furnishing:  there 
are  some,  however,  who  devote  themselves  to  the  Modern 
style,  and  many  private  individuals  have  adopted  this 
method  in  their  own  homes  without  professional  aid. 

Mr.  Pieter  Meyer,  sometime  of  Java  and  Holland  but  of 
late  years  of  Greenwich  Village,  New  York  City,  is  doing 
beautiful  work  in  the  direction  of  furniture  and  batiks.  His 
own  dining-room  with  furniture  in  ivory  and  red  (Plate  75) 
is  a  fine  example  of  Modern  furnishing;  while  his  pieces  in  the 
Chinese  vein  are  unsurpassed  (Plate  76).  A  number  of  these 
were  illustrated  in  the  issue  of  Good  Furniture  Magazine  of 
July,  1918,  where  an  account  of  his  life  is  also  given. 


1 88         THE  SMALL  HOUSE  AND  APARTMENT 

Mr.  Edward  H.  Aschermann,  also  of  New  York,  is 
prominent  in  this  style  of  decoration  and  a  considerable  body 
of  his  work  is  illustrated  in  Plates  3,  41,  77-81. 

It  usually  shows  the  influence  of  the  Vienna  Secession, 
though  a  professional  office  pictured  in  "The  Practical  Book 
of  Interior  Decoration"  is  in  a  different  manner,  and  the 
retention  of  the  columns  in  one  of  his  principal  interiors 
(Plate  79)  and  the  shade  designed  for  the  Wedgwood  lamp 
in  Plate  41  prove  that  he  has  also  a  feeling  for  the  Classic. 

The  two  dining-rooms  shown  in  Plates  3  and  77  are 
excellent  examples  of  his  work.  Both  are  simple  in  their 
colour-schemes  and  planning,  but  both  present  a  decided 
degree  of  novelty.  The  wall-treatments  of  both  are  ex- 
tremely well  adapted  to  this  method  of  decoration,  affording 
interest  but  lying  back  well  in  place.  The  chairs  in  Plate  3, 
while  decidedly  odd,  are  nevertheless  most  sensible  in  that 
they  may  be  pulled  well  under  the  table  without  obstruction 
from  their  arms. 

The  studio-living-room  shown  in  two  views  (Plates  78 
and  79)  is  of  handsome  character  and,  as  will  be  seen  from  the 
scheme  mentioned  below  it,  is  to  the  last  degree  colourful. 

Two  views  are  also  given  of  a  bachelor's  living-room  in  a 
New  York  apartment,  also  notable  in  colour  but  of  much 
richness  of  effect  (Plate  80). 

Mr.  Aschermann's  work  shows  much  invention,  always 
combined  with  strong  constructional  ability  and,  beneath  its 
colour  and  novelty,  a  direct  simplicity  of  aim. 

The  door,  standard-lamp  and  lamp-shades  in  Plates  81 
and  41  are  examples  of  this  in  minor  matters.  To  be  critical, 
this  decoration  is  best  where  it  is  least  stiff;  this  quality  being 
largely  produced  by  the  upright  lines  of  the  furniture  in 
Plates  77-79  and  the  large-scale  striking  design  back  of  the 
standards  in  Plate  80.  His  divans,  however,  are  always  indic- 
ative of  comfort. 


PLATE  77 


PLATE  78 


PLATE  79 


The  Ascliermann  Studio,  New  York 


THE  OPPOSITE  END  OF  STUDIO  LIVING-ROOM 


PLATE  80 


Ths  Aschermann  btuclio.  New  York 
SIDE  WALL  OF  BACHELOR'S  LIVING-ROOM 


The  Aschermann  Studio,  New  York 

CORNER  OF  LIVING-ROOM  IN  A  NEW  YORK  APARTMENT 

Colour-scheme,  Corn  colour.  Royal  Purple, 

Black  and  Gold,  Emerald  Green 


PLATE  8 1 


LAMP  IN  SILVER  AND  BLACK 

Upper  shade,  black  silk 
Lower,  grey  lined  with  yellow 


DOOR  TREATMENT 

Panel  of  glass  with  painted  design 

in  bright  colours 


The  Aschermann  Studio,  New  York 


CHAPTER  II 

DEVELOPMENT  OF  THE  MODERN  METHOD  POSSIBLE 
TO  THE  HOUSEHOLDER 

SO  beautiful  are  the  fine  pieces  of  furniture  and  the 
wonderful  fabrics  provided  both  in  Europe  and  America 
where  price  is  not  of  the  first  consideration,  that,  with  per- 
haps some  aid  from  the  carpenter  and  painter,  the  house- 
holder may  provide  by  his  own  tasteful  exertion  a  most 
attractive,  individual,  and  luxurious  home.  In  this  chapter 
advaNntage  will  be  taken  of  these  elements  in  the  production  of 
an  elegance  hardly  if  at  all  inferior  to  that  of  the  best  period 
furnishing;  while,  nevertheless,  spaciousness  and  the  direct 
simplicity  characteristic  of  the  method  will  be  maintained. 

As  the  writer  is  carrying  this  phase  of  decoration  further 
than  has  before  been  attempted,  it  may  be  said  at  once  that 
he  is  indeed  encroaching  to  a  slight  extent  upon  period  work, 
but  no  more  so  than  when  well-recognised  period  cottage- 
types  are  employed  in  the  simpler  and  more  usual  degrees  of 
furnishing:  it  is  merely  a  matter  of  to  what  we  .have  been 
accustomed,  and  this  style  will  be  found  fully  justifiable  and 
quite  sufficiently  Modern. 

If  such  pieces  of  fine  furniture  as  those  designed  by  the 
late  Mr.  Gimson  (Plates  64  and  65)  which  were  scarcely  at  all 
dependent  upon  historic  precedent,  were  generally  available, 
even  this  degree  of  likeness  would  be  unnecessary;  but  we  are 
here  dealing  with  purchasable  materials. 

DRAWING-  OR  RECEPTION-ROOM 

The  settee  and  chairs  appearing  in  Plate  82  show  a  type 
of  furniture  admirably  adapted  to  this  purpose.  These  par- 
ticular pieces  are  not  "straight  reproductions"  of  authentic 
period  furniture  but  are  examples  of  modern  design  showing- 
general  Neo-Classic  influence.  So  also  with  the  furniture  for 

.    ,  189 


190         THE  SMALL  HOUSE  AND  APARTMENT 

other  rooms  subsequently  to  be  mentioned;  it  all  possesses 
elegance  and  that  degree  of  lightness  and  comfort  fitting  it 
for  present-day  needs  and  premises  of  moderate  dimensions. 

With  these  may  be  employed  such  pieces  as  are  shown 
on  Plate  83  and,  if  there  is  room  for  two  settees  that  with 
down  cushions  on  Plate  84  may  be  added.  The  low  pedestal 
is  distinctly  "Period"  but  such  an  occasional  piece  may  well 
find  its  place  here,  and  the  painted,  gold  and  polychrome 
surfaces  as  shown  in  the  three  articles  on  Plate  83  will  afford 
relief  and  distinction. 

Such  furniture  as  the  first  is  sold  with  denim  covering, 
but  the  manufacturers  are  able  to 'provide  numerous  ap- 
propriate and  attractive  fabrics.  If  the  sofa  with  down 
cushions  be  used,  the  chintz  with  its  cream,  rose,  and  blue, 
at  once  strikes  the  colour-note  of  the  first  triad.  Upon  the 
other  seating-pieces  a  stripe  in  blue  and  old  gold  or  cream, 
or  in  rose  and  grey,  will  accord  with  this,  and  the  missing 
hues  may  be  supplied  in  the  accessories. 

If  the  cushioned  sofa  is  not  used,  there  is  then  no  figured 
pattern  to  consider  for  the  prevention  of  confusion,  and  a 
damask  of  handsome  design  and  colouring  may  be  chosen. 
Narrow,  figured  striped  silks  such  as  those  shown  in  Plates  84 
and  85  are  also  charming. 

As  a  background  to  such  furnishings  nothing  would  be 
more  elegant  than  a  wall  of  oyster  white,  cream-colour,  putty 
or  light  warm  grey  in  very  simple  panelling  with  lines  in  the 
mouldings  of  dull  gold.  Primrose-yellow  panelling  with  lines 
of  flesh-colour  is  also  an  exquisite  combination. 

The  floor  could  be  of  hardwood,  or  entirely  covered 
with  a  rich  plain  carpet  in  warm  grey  or  taupe,  upon  either 
of  which  a  few  small  rugs  would  be  laid.  With  the  first  they 
could  be  of  plain  colour  with  border,  or  Chinese  or  Oriental : 
with  the  carpet  they  might  be  either  of  the  latter.  Fine  old 
hook-rugs  are  another  resource.  If  any  of  the  patterned  rugs 


PLATE  82 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Micii. 


EIGHTEENTH  CENTURY  MAHOGANY  SETTEE.      DOWN  CUSHIONS 
Length  88  in..  Height  3?  in. 

EASY  CHAIRS  OF  DIRECfOIRE  TYPE  IN  WALNUT 

Left,  Height  141A  in..  Width  25  in.     Right,  Height  ?5  in..  Width  25  in. 

EIGHTEENTH   CENTURY  SIDEBOARD  IN  LIGHT  MAHOGANY 
Top  66  x  21,  Height  36  in. 


PLATE  83 


M.  Schlesinger,  Inc.,  Manufacturers,  New  York  City 

SOFA   END  TABLE  WITH   DRAWER.   PAINTED   DODY.   WALNUT  TOP 
Height  26  in.,  Width  26  in..  Depth  H  in. 

PAINTED  CHAIR  IN   PUTTY.   GOLD   AND   POLYCHROME 
Height  ?5  in..  Width  18  in..  Depth  16  in. 

LATE  D1RECTOIRE  PEDESTAL  IN   ANTIQUE  GOLD  AND  POLYCHROME 
Height  22  in..  Diameter  13  in. 


PLATE  84 


Manufactured  by  Century  Furniture  Co..  Grand  Rapids,  Mich. 
ENGLISH   STYLE  THIN-ARM   DAVENPORT 

In  English  Glazed  Chintz,  cream  ground,  vari-coloured  flower'  (much  rose) 
and  blue  ribbons 


FURNITURE-COVERING  OF  CRIMSON   RED   SATIN 
WITH   ECRU  STRIPE 

By  Courtesy  of  Wm.  Baumgarten  <t  Co.,  Inc., 
Decorators,  New  York 


PLATE  85 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     191 

are  employed,  the  designs  should  be  small,  so  as  to  accord 
with  the  lightness  and  grace  of  the  furniture. 

The  management  of  such  colour-schemes — that  is  to 
say,  the  use  of  the  various  hues  and  tones  in  upholstery, 
drapery,  rugs  and  accessories — has  already  repeatedly  been 
shown.  For  the  second  triad  a  covering  of  primrose  silk  with 
occasional  soft  violet  stripes  would  be  a  basis.  A  chaise- 
longue  or  a  pair  of  seating-stools  might  then  be  cushioned 
in  green. 

And  for  those  who  like  colour  here  is  a  scheme  indeed: 
walls  and  furniture  in  oyster  white  or  pale  grey:  all-over 
carpet  in  midnight  blue:  furniture-covering  in  rose  du  Barry 
velvet  or  heavy  taffeta :  seating-stools  in  emerald  green :  lamps 
and  vases  of  Chinese  porcelain:  Chinese  embroidery  shades, 
the  base  of  which  is  cream  silk:  curtains  and  portieres  of 
heavily-ribbed  grey  silk  with  applique  bands  of  midnight 
blue:  dull  gold  picture-frames  and  brass  candlesticks.  In  a 
small  room  etchings  might  be  used,  and  these  would  then 
have  narrow  wooden  mouldings  painted  or  enamelled  in  the 
midnight  blue. 

The  complete  scheme  for  the  other  rooms,  using  similar 
furniture,  will  first  be  carried  out,  and  then  a  suggestion 
made  for  the  employment  of  pieces  of  a  different  class. 

DINING-ROOM 

It  will  have  been  seen  that  in  the  reception-room  the 
suite  idea  has  been  totally  ignored,  and  so  will  it  be  here. 
When  this  is  possible  the  result  will  invariably  be  found 
more  individual  and  interesting. 

Such  a  sideboard  as  that  illustrated  on  Plate  82  forms 
an  excellent  basis  for  the  dining-room.  With  it  may  be  used 
a  Duncan  Phyfe  table  and  appropriate  chairs  made  by  the 
same  manufacturers,  or,  again  encroaching  on  period  furni- 
ture, the  Directoire  table  and  chairs  shown  in  Plate  141 :  after 


I92         THE  SMALL  HOUSE  AND  APARTMENT 

all,  Modern  furnishing  does  not  consist  so  much  in  the  fur- 
niture chosen  as  in  the  general  handling  of  its  elements. 
Where  there  is  opportunity  for  such  features,  the  writer 
would  like  to  see  the  sideboard  set  in  a  specially-built  recess 
and  backed  by  a  plain,  heavy  silk  hanging  banded  as  in  Dia- 
gram 6,  figure  2. 


123-1-  5 

Diagram  6. — Various  Bandings  for  Hangings 

The  curtains  could  be  of  the  same  silk,  plain,  and  the 
portieres  banded  like  the  sideboard-hanging.  A  wide  win- 
dow-seat with  striped  silk  cushions,  or  a  lounge,  or  a  few 
side-chairs  in  a  figured  damask,  added  to  the  usual  furnish- 
ings, would  greatly  increase  the  attractiveness  of  the  room. 
Other  bandings  suitable  for  various  uses  are  included  in 
the  Diagram. 

Furniture  with  the  same  Neo-Classic  basis  of  design  is 
the  "Pisa"  suite  shown  at  the  foot  of  Plate  86.  This  is 
supplied  either  in  grey  with  cream  panels  and  painted  decora- 
tions, or  in  plain  enamel,  as  preferred,  and  with  seats  either 
of  rush  or  of  woven  two-colour  rope  in  checkerboard  design. 
For  dignified  dining-room  use  the  enamel  with  rush  seats  and 
silk-covered  cushions  would  be  preferable,  and  with  hand- 
some rugs,  portieres,  and  screen,  a  room  so  furnished  would 
be  admirable. 

The  "Exeter"  breakfast-room  set  with  its  high  dresser 
(Plate  87)  would  be  very  appropriate  for  the  dining-room  of 
a  country-house  or  an  apartment  where  strict  formality  is 
not  desired.  Such  furniture  possesses  great  charm,  and  the 


PLATE  86 


Albert  Kahn,  Architect  Furniture  Manufactured  by  Chamberlayne,  Inc.,  New  York 

DINING-ROOM   IN   RESIDENCE  OF  C.   G.   EDGAR.   DETROIT.   MICHIGAN 
The  furniture  is  of  Walnut  and  is  finished  if  desired  with  dull  gold  on  finials  and  headings 


Manufactured  by  Chamberlayne,  Inc.,  New  York 
"PISA"   DECORATED   BREAKFAST  SUITE.  ALSO  SUITABLE  FOR  A  DINING-ROOM 
Stained  grey,  cream  panels,  flower  designs  in  colours 
Also  in  solid  enamel  colours 


PLATE  88 


PLATE  89 


Manufactured  by  Wm.  A.  French  Furniture  Co.,  M:mirap<.>: 
"THE  MARBRIDGE  SUITE"  IN  THE  DINING-ROOM  OR  BREAKFAST-ROOM 


Manufactured  by  Wm.  A.  Frcncii  Furniture  Co  ,  Minneapolis  Minn. 
"THE  MARBRIDGE  SUITE"  IN  THE  BEDROOM 


193 

dresser  gives  opportunity  for  the  use  of  colour  in  the  china 
displayed. 

MORNING-ROOM 

We  here  have  the  possibility  of  the  greatest  comfort  and 
charm.  Such  a  room  is  a  lounge  for  the  various  members  of 
the  family,  and  it  is  of  informal  nature.  It  should  be  bright 
and  cheerful  with  abundant  conveniences.  Some  of  the  won- 
derfully pleasing  reed  pieces  now  made  may  find  their  home 
here  in  conjunction  with  painted  furniture. 

A  new  idea  in  the  furniture-world  is  the  manufacture  of 
pieces  adaptable  to  various  uses,  and  for  its  exemplification 
the  reader  is  referred  to  the  "Marbridge"  suite  illustrated  in 
Plates  88  and  89.  It  will  be  seen  that  the  table-desk  in 
the  boudoir  is  equally  suitable  for  the  dressing-table  in  the 
bedroom,  and  that  the  piece  which  in  the  dining-room  is  a 
buffet,  becomes  in  the  bedroom  a  commode.  This  table  and 
the  chairs  (to  which  an  arm  chair  has  now  been  added  by  the 
manufacturers)  are  suitable  for  any  such  rooms  as  these. 

The  advantage  of  such  interchangeable  furniture  is  evi- 
dent, and  the  writer  will  now  supply  two  suggestions,  though 
not  made  by  the  makers  :  such  furniture  would  be  admirable 
for  two  or  three  rooms  in  a  woman's  smart  apartment,  and 
,be  equally  available  for  the  morning-room  we  are  now 


commode  would  be  an  excellent  cupboard  here  and 
^  convenience  to  all  members  of  the  family.  Console  and 
mirror  would  be  attractive,  and  two  of  the  tables  could  be 
employed,  one  of  them  as  a  desk,  which  such  a  room  should 
always  contain.  The  night-table  would  make  a  good  maga- 
zine stand.  Either  a  couch  or  the  day-bed  here  shown  would 
be  available.  If  the  latter  is  chosen  its  couch  employment 
should  be  most  in  evidence,  and  then  a  set  of  cushions  of  uni- 
form size  and  covering  would  be  preferable  to  those  illustrated. 

In  such  a  room  some  light  reading  should  be  available, 

13 


194         THE  SMALL  HOUSE  AND  APARTMENT 

and  if  there  is  a  recess,  there  could  be  no  better  plan  than  a 
shelf  of  current  fiction  and  the  like,  disposed  as  in  Plate  123. 

Now,  to  the  wall  furniture  as  provided,  with  a  couple  of 
the  chairs,  let  us  add  the  reed  furniture  already  mentioned. 
If  the  day-bed  is  not  used,  a  reed  settee  well  may  be,  and  a 
sufficient  number  of  easy  chairs  should  be  provided. 

The  "Marbridge"  furniture  is  in  rich  old  blue:  why  not 
let  the  wicker  remain  its  natural  hue  with  a  broad  band  of 
the  same  blue  around  the  back  and  down  the  arm-rests? 
The  rug  might  be  in  tan  with  a  blue  border,  if  the  latter 
could  be  secured  in  the  right  shade. 

In  a  woman's  apartment  Chinese  rugs  or  reproductions 
in  buff  or  tan  and  blue  would  be  excellent,  and  they  could  also 
be  used  here.  If  the  rug  is  simple,  printed  linen  or  cretonne, 
introducing  rose  with  the  tones  so  far  used,  and  perhaps  also 
greens,  wood-browns  or  a  little  lavender,  may  be  employed 
for  the  cushions  of  settee  and  chairs.  Stripes  are  also  to  be 
remembered.  If  for  this  room  undecorated  wall-furniture 
and  wicker  be  chosen,  attention  is  especially  directed  to  such 
fabrics  as  those  shown  on  Plate  55.  These  are  of  striking, 
colourful  character  and  strong  design.  The  upper  pattern 
is  the  most  expensive;  the  block  is  particularly  inexpensive. 
The  upper  figure  with  blue  or  slate-grey  background  has 
great  style  and  supplies  abundant  colour.  The  block  patterns 
are  always  good. 

Pieces  selected  from  the  "Bigarre"  or  "Italian  Garden" 
suites  (Plates  90-92)  are  equally  available  for  the  morning- 
room.  Both  are  most  attractive,  and  the  coverings  not  less 
so.  According  to  the  decoration  chosen  for  the  furniture 
these  coverings  are  such  charming  things  as  narrow  striped 
silks  in  grey  and  blue  and  ecru  and  green,  or  gay  but  har- 
monious linens  with  stripes  of  rose  and  buff  of  about  one 
inch  width  with  line  stripes  of  blue. 

The  furniture  here  supplying  the  decorative  element, 


PLATE  90 


PLATE  92 


PLATE  93 


Linoleum  Manufactured  by  Armstrong  Cork  Co.,  Lancaster.  Pa. 


A  SUN-PARLOUR  WITH  FLOORING  OF  "INSET  TILE"  LINOLEUM, 
CEMENTED   DOWN 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     195 

caution  should  be  used  in  the  remaining  furnishings  so  as  to 
avoid  overdoing  pattern  and  colour. 

BREAKFAST  ROOM 

All  of  the  sets  mentioned  were  primarily  designed  for 
this  purpose  and  they  offer  an  almost  bewildering  choice. 
One  of  them  used  in  a  solarium  is  shown  in  Plate  90.  A  sun- 
room  which  is  not  a  breakfast- room  is  illustrated  in  Plate  93, 
and  this  also  shows  the  effect  of  "Inset-tile"  linoleum. 

LIBRARY 

With  this  scheme  of  furnishing  the  library  should  ex- 
press dignity  without  heaviness.  It  should  have  abundant 
light,  be  so  situated  that  it  is  free  from  noise  or  disturbance, 
and  be  comfortable.  Built-in  bookcases  of  walnut  would  be 
excellent,  and  these  might  be  relieved  with  striping  of  dull 
gold.  The  rug  might  be  a  dignified  oriental,  or  Chinese,  or  of 
solid  colouring  with  a  plain  border,  or  in  two  tones  very  close 
together.  Another  good  floor-covering  is  a  handsome  plain 
carpet  of  deep  burgundy-rose  or  rich  blue.  Two  or  three  of 
the  polychrome  chairs  shown  in  Plate  83  would  be  available, 
and  one  might  be  used  with  a  desk  of  an  appropriate  design. 
The  thin-arm  davenport  in  Plate  84  and  easy  chairs,  both 
upholstered  in  corded  velour  or  tapestry  rather  than  the 
usually  prescribed  dull  and  heavy  leather,  would  complete 
the  furniture.  A  globe  is  a  great  convenience,  and  so  is  a 
cabinet  for  book-catalogues  and  papers. 

A  Venetian  processional  lantern  (see  Plate  100),  an 
Italian  bust  or  two,  handsome,  dignified  candlesticks,  and  a 
few  Chinese  or  Wedgwood  vases  will  provide  agreeable 
accessories.  It  need  scarcely  be  said  that  if  at  all  possible 
such  a  room  should  have  a  fireplace.  If  the  book-cases  are 
dwarf  there  will  be  wall-space  for  a  rich  hanging  or  two  of 
brocade  or  tapestry  (Plate  100)  and  a  few  well-chosen  pic- 


196         THE  SMALL  HOUSE  AND  APARTMENT 

tures;  while  the  top  of  the  shelves  will  give  opportunity  for 
the  placing  of  vases,  plaques,  candlesticks,  bas-reliefs  and 
the  like — an  opportunity  that  should  be  used  but  never 
abused.  Such  a  room  should  exemplify  comfort  but  be  un- 
crowded,  reposeful,  and  scholarly. 

BED-CHAMBERS 

The  type  of  bed-room  furniture  illustrated  by  the  "Brit- 
tany" suite  in  Plate  94  is  admirable  for  such  furnishing  and 
is  suitable  for  the  room  of  either  man  or  woman.  For  a 
woman's  room  French  grey  is  also  very  attractive,  and  atten- 
tion is  likewise  directed  to  the  jade  green  Louis  Seize  suite 
illustrated  by  Plate  137.  The  latter  is  of  period  character  but 
if  the  surroundings  are  not  also  "Period"  it  may  well  be  used 
in  Modern  furnishing.  A  touch  of  the  exotic  is  frequently 
desirable,  and  what  would  supply  a  more  unusual  guest- 
chamber  than  some  such  room  as  that  by  Mr.  Chamberlin 
Dodds  shown  in  Plate  95  ? 

OTHER  FURNITURE 

Other  types  of  furniture  suitable  for  this  scale  of  Modern 
decoration  are  shown  in  Plates  42,  60-62,  86  (top),  106,  107, 
in  (top),  112  (upper  chair),  and  125.  In  Great  Britain  is 
to  be  purchased  much  furniture  which  might  be  described  as 
simplified  Jacobean,  and  it  is  not  too  distinctly  "Period"  to 
be  used  in  a  Modern  manner. 

INDIVIDUAL  FEATURES 

Successful  Modern  decoration  may  be  termed  the  Tri- 
umph of  Individuality.  Given  character  to  express,  culti- 
vated taste,  and  abundant  means,  there  is  scarcely  a  limit 
to  the  beauty  that  this  mode  is  capable  of  affording.  Suit- 
able furniture  is  abundant;  the  array  of  fabrics  now  at  our 
disposal  is  wonderful;  we  need  not  hesitate  to  avail  ourselves 


PLATE  94 


PLATE  95 


o  P1 

2] 

M 


g  t-l 
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a:    2a. 
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MODERN  STYLE,  HIGHEST  DEVELOPMENT    197 

of  accessories  of  innumerable  kinds  provided  by  both  past 
and  present. 

The  interiors  illustrated  in  this  volume,  Period  as  well  as 
Modern,  may  give  hints  as  to  various  arrangements  or  feat- 
ures that  may  be  adopted  or  adapted  to  one's  own  needs, 
but  the  greatest  inspiration  of  all  will  be  a  careful  study  of 
every  opportunity  which  the  premises  to  be  occupied  or 
renovated  may  themselves  afford.  Strange  to  say,  some 
architectural  characteristic  which  at  first  seems  detrimental, 
when  successfully  overcome,  often  gives  the  note  of  individ- 
uality that  is  so  desirable.  We  should  not  hasten,  therefore 
to  condemn  and  remove,  but  should  first  consider  whether 
what  appears  to  be  an  obstacle  may  not  be  a  suggestive  aid: 
if  it  does  not  so  prove,  action  may  then  be  taken. 

Some  architectural  changes  are  frequently  advisable: 
these  are  generally  in  the  direction  of  more  desirable  stair- 
ways, mantels,  doors,  or  windows,  or  perhaps  built-in  feat- 
ures. It  may  be  found  that  attractive  windows  may  be  opened 
in  what  is  now  the  blank  wall  of  a  desirable  alcove,  and 
when  these  are  cleverly  treated  the  appearance  of  the  whole 
room  beautified.  Or  a  recess  may  be  the  precise  position 
for  some  arrangement  of  an  important  piece  of  furniture 
with  accessories.  An  upright  piano  may  be  set  near  a  corner 
with  its  back  to  the  room.  This  scarcely  seems  at  first  sight 
a  desirable  disposal  of  the  instrument,  does  it?  But  an 
attractive  retired  recess  is  thereby  provided  for  the  player, 
and  when  a  long  table  with  beautiful  objects  upon  it  is  placed 
against  that  back  covered  with  a  rich  drapery,  and  handsome 
chairs  disposed  conveniently  at  hand,  we  may  undergo 
a  change  of  mind.  Certainly  a  group  around  a  fireside  in 
the  twilight  with  an  invisible  player  discoursing  beautiful 
music  makes  its  appeal. 

Various  forms  of  panelling  have  been  shown  and  men- 
tioned: other  wall  treatments  are  also  possible.  One  of  the 


i98         THE  SMALL  HOUSE  AND  APARTMENT 

illustrations  in  "The  Practical  Book  of  Interior  Decoration" 
shows  the  living-room  of  a  widely-known  architect  where 
the  walls  are  of  sand-finished  plaster  with  blue  tiles  edging 
the  door-  and  window-openings.  Gold  or  silver  paper  may 
often  be  used  in  special  rooms  without  conflict  with  the 
remaining  wall-surfaces.  Where  there  is  a  wainscot,  orna- 
mental papers — such  as  Walter  Crane's  "Macaw"  design — 
may  in  like  manner  be  employed  on  the  wall  above  it.  Inserts 
of  brocade  or  other  fabrics  make  charming  panel-inserts. 
There  may  be  a  beamed  ceiling:  why  should  the  hackneyed 
treatment  be  followed?  Why  not  stain  (not  paint)  the 
beams  a  peacock-blue, 'or  reddish-violet,  or  apple-green,  and 
cover  the  intervening  ceiling-spaces  with  dull  gold?  In  a 
country-house  solarium  why  not  introduce  an  original  wall- 
fountain  with  its  cooling  sparkle  of  running  water? 

But  why  go  on  ?  There  are  opportunities  without  num- 
ber to  him  who  will  look  for  them,  to  him  who  cares  to 
surround  himself  and  those  dear  to  him  with  such  beauty  as 
he  may. 

MATERIALS 

A  few  very  miscellaneous  hints  as  to  materials  may 
be  added. 

The  mistake  made  by  many  of  abundant  means  is  in 
resting  content  with  ordinary  products  shown  in  the  average 
shop  or  department-store  when  by  visiting  the  establish- 
ments of  the  best  decorators  or  the  more  unusual  shops  they 
may  secure  individual  things  of  greater  beauty,  quality  and 
durability. 

Accessories  are  of  great  moment,  and  prominent  among 
them  are  the  pottery  and  porcelain  vases  and  the  lamps  often 
constructed  from  them.  The  most  eminent  of  the  foreign 
wares  are  to  be  found  in  the  fine  shops  of  large  American 
cities.  Among  them  are  the  English  potteries  and  porcelains, 
Moorcroft,  Doulton,  Royal  Worcester,  Lancastrian,  Bretty, 


MODERN  STYLE,  HIGHEST  DEVELOPMENT     199 

Wedgwood  and  Wieldon;  the  Gouda  ware  from  Holland, 
and  many  attractive  things  from  Italy  and  Spain.  The 
Chinese  mirror-blacks,  powder-blue,  and  crackle  are  "classics", 
and  the  figured  pieces  often  of  wonderful  beauty.  The 
American  Lenox,  Pauleo,  and  Spanish  Moresque  should  not 
be  forgotten. 

Fine  reed  furniture  has  been  mentioned  but  may  be 
emphasised  as  it  is  so  useful  in  the  more  informal  rooms 
and  especially  in  sun-rooms.  The  special  combinations  of 
colourings  are  too  numerous  to  recite,  but  black,  and  gold  is 
worthy  of  remembrance. 

The  carpets  of  block  pattern  (a  foot  or  so  square)  of  two 
tones  or  two  hues  are  employed  by  eminent  decorators  and 
are  of  much  style.  Halls  and  dining-rooms  would  seem  to 
be  their  best  use. 

Painted,  lacquered,  and  marqueterie  furniture  as  a  relief 
to  that  of  the  plain  woods  is  a  valuable  asset. 

Finally,  avoid  garishness,  always,  but  do  not  be  afraid 
of  individuality.  There  are  those  who  say  that  in  a  tasteful 
interior  nothing  should  be  noticed,  as  it  is  also  said  of  the 
well-dressed  person  that  one  should  not  be  able  to  remember 
anything  of  the  attire  worn.  If  it  be  taste  to  suppress  every 
mark  of  character,  force,  all  that  makes  for  fine  manhood  and 
womanhood,  to  play  safe,  to  hug  every  headland,  to  shelter 
oneself  behind  the  multitude, — then  this  is  true.  Then  also 
deliver  us  from  "perfect  taste"!  Whistler  reminds  us  that 
"Perfection  is  Death." 


PART  III 

LIBERAL  PERIOD  FURNISHING 

/.  INTRODUCTION 

II.  THE  RENAISSANCE  AND  THE  BAROQUE 

III.  THE  ROCOCO.    THE  DUTCH  INFLUENCE  IN  ENGLAND 

IV.  THE  NEO-CLASSIC 

COLOUR-SCHEMES  APPLYING  TO  VARIOUS  STYLES 


I  mean  that  side  of  art  which  is,  or  ought  to  be, 
done  by  the  ordinary  workman  while  he  is  about 
his  ordinary  work.  This  art  no  longer  exists  now, 
having  been  killed  by  commercialism.  While  it 
lasted,  everything  that  was  made  by  man  was 
adorned  by  man,  just  as  everything  made  by  Nature 
is  adorned  by  her.  The  craftsman,  as  he  fashioned 
the  thing  he  had  under  his  hand,  ornamented  it  so 
naturally  and  so  entirely  without  conscious  effort, 
that  is  is  often  difficult  to  distinguish  where  the 
mere  utilitarian  part  of  his  work  ended  and  the 
ornamental  began. 

WILLIAM  MORRIS,  "Useful  Work  v.  Useless  ToiT' 


PART  III 
LIBERAL  PERIOD  FURNISHING 

CHAPTER  I 
INTRODUCTION 

THE  NECESSARY  POINT  OF  VIEW.  OAK  OR  MAHOGANY?  WALNUT  AND 
OTHER  WOODS.  FURNITURE  PURCHASABLE  IN  THE  GENERAL 
MARKET. 

THE  NECESSARY  POINT  OF  VIEW 

THE  need  of  the  reader  of  such  a  book  as  the  present  is  a 
broad  view  of  Period  decoration  and  furnishing — not 
either  a  vast  amount  of  detailed  information  that  will  but 
bewilder  him  or  a  mere  smattering  of  talk  regarding  isolated 
epochs.    The  knowledge  of  the  general  reader  is  mostly  con- 
fined to  the  English  styles :  they  are  in  every  way  admirable, 
but  constitute  only  a  portion  of  the  manifestations  of  great 
decorative  movements  which  swept  over  all  civilised  Europe. 
But  the  subject  will  best  be  opened  by  a  semi-humorous 
discussion. 

OAK  OR  MAHOGANY? 

Let  us  assume  that  the  householder  has  read  the  Intro- 
duction to  this  volume,  discussing  the  uses  of  both  the  Modern 
and  the  Liberal  Period  methods  of  furnishing  and,  having 
considered  their  relative  advantages,  has  decided  that  for 
his  own  purposes  he  prefers  the  latter  mode.  Having  arrived 
at  this  point  he  frequently,  however,  makes  use  of  some 
expression  resembling  the  following: — "We  do  not  know 
whether  we  want  oak  or  mahogany  furniture  or  whether  we 
want  both." 

Now  it  so  happens  that,  without  his  being  aware  of  it, 
these  few  words  open  up  the  whole  field  of  such  furnishing — 
not  only  the  furniture  itself,  but  the  walls,  woodwork,  floors, 

textiles  of  every  kind,  and  accessories  to  be  employed;  yes, 

203 


204         THE  "SMALL  HOUSE  AND  APARTMENT 

sometimes  even  the  sort  of  house  he  is  to  live  in.  And  he 
must  be  given  the  information  which  will  enable  him  to 
decide  the  question  to  his  own  best,  permanent  satisfaction — 
for  he  may  have  oak  furniture  or  he  may  have  mahogany,  but 
he  certainly  should  not  have  both. 

In  a  studio,  or  in  elaborate  premises  where  is  employed 
antique  furniture,  toned  in  colour  and  especially  in  finish  by 
the  touch  of  time,  both  the  effect  of  space  and  the  patina  of 
age  unite  the  two  to  a  degree  admitting  the  association,  par- 
ticularly when  aided  by  a  judicious  choice  of  wall-surfaces 
and  textiles.  This  is  also  true  of  handsome  modern  furniture 
which  has  been  treated  as  "of  its  period",  but  in  small  prem- 
ises and  with  the  usual  commercial  finish,  oak  and  mahogany 
are  too  diverse  in  themselves  and  in  the  settings  they  demand 
to  be  used  together. 

As  will  have  been  seen,  the  writer  is  in  no  sense  a  purist, 
but  we  should  not  be  blind  to  intrinsic  differences,  and  this 
point  of  view  has  not  been  overlooked  by  the  alert  Man- 
chester Guardian,  which,  writing  of  the  "American  outlook 
on  Old- World  belongings",  remarked:  "Over  there  they  see 
our  furniture  as  objects  of  art  and  craftsmanship  in  them- 
selves, apart  from  history  and  associations.  They  can  note 
a  baroque  or  neo-classic  influence  running  from  country  to 
country  in  a  way  we  do  not  often  realise.  They  see  affinities 
and  repulsions  of  which  we  are  not  actively  aware." 

But,  the  attitude  of  many  a  householder  is:  "I  care 
nothing  about  period  and  that  sort  of  thing.  I  like  a  certain 
kind  of  furniture  because  it  suits  me;  not  because  it  repre- 
sents something  that  I  know  or  care  nothing  about.  What 
I  wish  is  an  appropriate  home  without  any  nonsense." 
Quite  so!  Of  course  it  might  be  intimated  that  when  men 
now  dead  gave  the  efforts  of  a  lifetime  to  the  designing  and 
making  of  beautiful  things  and  the  best  way  to  use  them, 
thus  saving  us  an  infinite  deal  of  time  and  trouble,  it  might 


LIBERAL  PERIOD  FURNISHING  205 

be  rather  decent  at  least  to  glance  at  their  point  of  view;  but 
all  that,  nowadays,  is  labelled  with  the  dread  word  Archcz- 
ology,  and,  "anyhow",  our  generation  is  not  noted  for  respect 
either  for  our  forbears  or  their  works,  and  prefers  to  "dig  it 
all  out  for  itself."  Very  well,  then,  let  us  dig. 

Is  there  any  other  word  in  the  language  which  so  implies 
sturdiness  as  the  word  oak!  Commercial  oak  furniture  is  not 
so  heavy  as  that  of  yore — "the  economies  of  mass-produc- 
tion" have  seen  to  that — but  it  is  good  and  solid.  It  is  an  open 
grained,  shall  we  say  big-hearted,  sort  of  wood ;  it  is  not  capable 
of  small  things  or  of  "frills".  It  may  not  have  the  extreme 
refinement  of  some  of  its  neighbours,  but  it  is  thorough-going, 
straightforward,  sterling,  and  mightily  worthy  of  honour. 

Such  is  the  wood  and  the  furniture  intelligently  con- 
structed from  it.  Nothing  is  viler  and  more  intrinsically  oppos- 
ed to  the  character  of  the  material  than  a  golden  colour  and 
hard,  varnished  surface.  Such  furniture  is  the  bete  noire 
of  the  decorator  or  the  house-furnisher.  It  should  be  fumed 
or  in  darker  shades,  and  of  soft,  dull,  wax-like  finish. 

What  is  the  appropriate  covering  for  such  furniture  and 
what  goods  should  be  used  as  curtains  in  the  rooms  con- 
taining it?  Certainly  not  the  smooth,  thin  silks,  damasks  in 
small,  fine  designs,  and  the  like.  Velvets,  plain  or  cut,  or 
the  excellent  modern  mohair-velvet,  heavy  brocatelles  and 
brocades,  are  plainly  indicated.  There  are  excellent  bro- 
cades made  now-a-days  at  moderate  figures  in  linen  or  cotton 
with  silk  facing.  Gros  point  and  petit  point  embroideries 
were  much  used  in  earlier  days  and  are  reproduced  now,  but 
as  these  too  are  expensive,  a  well-designed  tapestry  in  good 
colourings  or  the  Mohair  Super-tapestry  may  admirably 
supply  their  place.  When  patterned  materials  are  chosen 
the  designs  need  not  be  large  and  splurging  but  they  should 
not  be  "niggling".  Weight  and  good  texture  naturally  go 
with  such  furniture. 


206         THE  SMALL  HOUSE  AND  APARTMENT 

It  is  not  in  most  cases  possible  to  introduce  panelling  in 
the  usual  small  house  or  the  rented  apartment,  but  there  is 
always  woodwork,  and  perhaps  this  is  accompanied  by  such 
built-in  features  as  window-seats,  book-cases,  china-closets 
or  dressers.  Everyday  common-sense  would  indicate  that 
such  woodwork  be  like  the  furniture  employed  with  it,  and 
not  of  some  alien  material  or  finish.  Satin-smooth  walls 
would  hardly  occur  to  anyone  as  an  appropriate  background 
—texture  is  required  here  also.  Plaster  or  sand-finish  in 
attractive  shades  of  fawn  or  buff  immediately  suggest  them- 
selves. If  the  walls  are  papered,  a  perfectly  plain  effect  in 
a  heavy  felt  with  some  roughness  or  a  surface  resembling 
plaster  should  be  used. 

Our  rooms  should  have  cheer — plenty  of  good  daylight! 
Where  rather  dark  furniture  and  woodwork  are  employed 
then  give  us  windows!  A  range  of  casements  is  best,  and 
there  is  nothing  more  attractive. 

An  excellent  example  of  an  oak  room  intelligently  handled 
is  shown  in  the  illustration  herewith,  (Plate  96).  The  chair- 
seats  and  backs  are  cane  (also  appropriate)  and,  as  there  is  no 
handsome  upholstery  properly  to  be  accompanied,  a  rag  rug  is 
used  upon  the  floor.  Such  a  rug  has  appropriate  unevenness  of 
surface.  Good  heavy  woolen  rugs  are  admirable  either  in  one 
tone  or  two  tones,  or  plain  centre  with  bold  line  border. 

In  this  consideration  archaeology  has  not  been  given  the 
ghost  of  a  chance — everything  has  been  reasoned  upon  such  a 
basis  as  the  man  constantly  employs  in  his  business  or  the 
woman  in  her  home  or  in  her  attire.  It  is  strange,  is  it  not, 
that  this  is  precisely  the  sort  of  interior  devised  by  our  fore- 
fathers of  the  days  of  the  Tudors  or  Stuarts !  It  seems  rather 
unfair  that  they  should  have  got  ahead  of  us  in  this  manner, 
and  that  we  have  had  our  trouble  for  our  pains!  After  all, 
it  does  not  look  as  if  wisdom  began  or  would  end  with  this 
generation. 


PLATE  96 


PLATE  97 


SI 


LIBERAL  PERIOD  FURNISHING  207 

As  perhaps  the  eighteenth  century  gentleman  may  also 
have  been  able  to  devise  a  suitable  home  for  himself  and 
family  let  us  look  into  his  procedure — for  it  was  in  his  time 
that  mahogany  came  into  use. 

Material  invariably  has  its  influence — we  all  realise  the 
difference  effected  by  the  use  of  oil-  or  water-colour  in  paint- 
ing. Mahogany  was  speedily  found  to  possess  very  desirable 
qualities:  it  was  immensely  strong  and  susceptible  of  the 
most  beautiful  carving.  When  finished  it  had  a  soft,  rich 
polish  strongly  reflective  of  light.  It  was,  in  brief,  found  to 
be  one  of  the  aristocrats  among  woods.  Sensibly,  it  was 
placed  in  refined  surroundings. 

Its  appropriate  coverings  are  found  to  be  the  very  mate- 
rials not  suitable  for  oak— silken  damasks,  rich  armures  and 
the  like.  In  Sheraton's  last  years  both  Paris  and  London 
went  mad  over  stripes — and  there  wasmethod  in  their  madness, 
too,  for  these  are  particularly  attractive  with  rich  mahogany. 

It  is  to  be  wished  that  we  could  always  place  behind 
such  furniture,  so  beautifully  covered,  the  lovely  panelling 
in  tints  or  white  that  then  accompanied  it,  or  the  effective 
Classic  walls  of  the  Brothers  Adam.  Some  readers  may  be 
able  to  accomplish  this  or  to  negotiate  a  wainscot.  An  excel- 
lent substitute  is  applied  mouldings.  Many  modern  conditions 
make  necessary  the  simpler  expedients  of  paint  or  paper,  and 
when  appropriately  treated  these  are  very  attractive.  A 
smooth  surface  is  of  course  the  right  one.  White  or  ivory 
white  or  light-tinted  painted  walls  and  woodwork  are  nearest 
to  the  original  conditions.  Mahogany,  or  mahoganised 
doors  are  good.  In  the  apartment  reception-room  illustrated 
(Plate  97)  the  woodwork  also  is  mahoganised,  but  simply 
because  by  the  rules  of  the  house  it  could  not  be  changed. 
Here  the  walls  are  papered  with  an  ivory  white  satin-striped 
paper  of  handsome  quality.  It  will  be  noted  that  the  damask 
furniture  covering  is  also  striped. 


208         THE  SMALL  HOUSE  AND  APARTMENT 

Liberal  period  furnishing  has  been  employed  in  this  room 
— the  day  of  the  suite  and  of  a  narrow  adherence  to  one  style 
of  one  nationality  has  happily  passed.  The  book-case  is 
Chippendale,  the  settee  Sheraton,  and  the  chairs  Hepple- 
white.  The  lamp-table  is  a  four-legged  American  Empire 
example,  elliptical,  and  with  a  base.  Oriental  art  has  always 
played  an  important  part  in  Western  furnishing,  and  here 
the  prints  are  Japanese  and  the  lamp-base  a  Japanese  figure 
in  white  porcelain  with  colour  and  gold.  The  shade  is  of 
rose  Shantung  silk  and  the  pendant  beads  Chinese,  in  rose, 
blue,  and  amber.  The  table  runner  is  of  Japanese  silk — 
silver  grey  and  tan  figure  on  a  jet  black  ground. 

It  does  not  seem  to  the  writer  that  he  need  stress  the 
total  difference  in  the  two  manners  of  furnishing  exemplified 
in  these  two  rooms.  It  is,  then,  simply  a  matter  for  the 
householder  to  decide  whether  for  his  own  use  he  prefers 
not  only  the  earlier  or  the  later  style  of  furniture  but  the 
earlier  or  the  later  style  of  furnishing.  He  should  not  hastily 
decide,  both  because  he  will  find  there  is  a  period  between  the 
two  that  he  should  take  into  account,  and  also  because  fur- 
nishing, like  marriage,  is  not  a  thing  "to  be  entered  into  un- 
advisedly or  lightly"  but  is  deserving  of  consideration. 

But  let  us  carry  practicality  to  its  fullest  extent.  It 
may  be  asked  whether  a  non-committal  background  could 
not  be  devised  which  would  answer  for  either  oak  or  mahog- 
any furniture?  Undoubtedly.  The  writer  has  seen  many 
such  backgrounds.  They  are  naturally  compromises  and 
not  characteristic  of  either  furnishing,  but  they  would 
"answer"  under  necessity.  There  would  still  remain  the 
intrinsic  differences  in  the  furniture  and  its  covering  if  the 
two  woods  were  mingled.  Try  substituting  one  of  the  oak 
chairs  in  the  dining-room  illustrated  for  the  Hepplewhite  in 
the  reception-room,  remembering  its  "build",  texture  and 


LIBERAL  PERIOD  FURNISHING  209 

colouring,  and  see  how  it  accompanies  the  Sheraton  settee. 
Then  try  the  settee  in  the  dining-room. 

"But" — pleads  the  unhappy  householder — "I  already 
have  both  oak  and  mahogany  furniture,  both  tpo  good  to  be 
discarded.  What  shall  I  do!"  Are  there  not  such  phrases 
as  "necessity  knows  no  law",  and  "needs  must  when  the 
devil  drives"  ?  But  if  necessity  be  the  very  devil  let  us  beat 
him  about  the  bush  as  much  as  we  may — put  the  oak  down 
stairs  and  the  mahogany  above,  or  vice  versa  "if  needs  must," 
but  in  any  event  keep  them  in  different  and  uncommuni- 
cating  rooms. 

But  to  purchase  both  is  a  different  matter.  The  com- 
paratively confined  quarters  afforded  by  the  usual  house  or 
apartment  do  not  admit  of  alien  influences  if  we  are  seeking 
the  best  results,  if  we  desire  congruity  and  charm,  and  if  we 
regard  our  homes  as  something  more  than  "just  a  place  to 
live  in." 

Modern  conditions  may  make  it  impossible  to  carry  out 
all  the  details  of  period  furnishing,  and  slavish  copying  of 
precedent  is  certainly  inadvisable,  but — we  should  not  vio- 
late the  spirit  of  any  certain  manner  of  furnishing. 

So,  if  I  have  blasted  anyone's  hopes  of  making  his  home 
a  general  mixture  I  fear  that  I  am  unregenerate  and  unrepen- 
tant; for  I  adopt  Bernard  Shaw's  precept:  "Embrace  your 
reproaches:  they  are  often  glories  in  disguise." 

WALNUT  AND  OTHER  WOODS 

It  may  be  a  surprise  to  the  general  reader  to  learn  that  in 
Europe,  during  the  various  periods,  more  furniture  was  made 
of  walnut  than  of  any  other  material. 

In  England  it  occupied  the  interval  between  oak  and 
mahogany — that  is  to  say,  from  about  1650  to  about  1720,  or, 
roughly  speaking,  from  the  days  of  Cromwell  into  Georgian 
times.  Colonial  America  usually  followed  English  procedure, 


210         THE  SMALL  HOUSE  AND  APARTMENT 

though  other  native  woods  were  frequently  used.  In  France 
oak  had  some  considerable  employment  but  the  staple  was 
walnut.  During  all  periods  walnut  was  the  standard  wood 
of  southern  Europe. 

Cheaper  material  was  naturally  generally  employed  for 
lacquered  and  painted  furniture.  Hepplewhite,  Sheraton 
and  others  often  chose  satinwood  for  fine  furniture  toward 
the  end  of  the  i8th  Century. 

A  very  practical  consideration  comes  in  at  this  point: 
not  only  did  walnut  intervene  between  oak  and  mahogany  in 
point  of  time  but  it  is  also  midway  between  the  two  in  its 
characteristics  as  a  wood.  Its  grain  is  closer  and  it  is  better 
adapted  to  carving  than  oak,  but  inferior  to  mahogany  in 
the  latter  respect.  The  forms  to  which  the  wood  is  naturally 
adapted  are  lighter  than  oak,  but  mahogany  will  stand  the 
greater  strain  and  hence  its  contours  may  be  slighter  still. 
The  influence  of  the  material  employed  has  therefore  had  its 
influence  in  the  development  of  British  styles. 

English  and  American  walnut  are  not  identical  woods 
and  they  differ  in  their  colouring.  This  may  be  partially 
due  to  finish  but  not  altogether. 

In  England  the  four  woods  principally  employed — oak, 
walnut,  mahogany,  and  satinwood — roughly  block  off  cer- 
tain periods. 

FURNITURE  PURCHASABLE  IN  THE  GENERAL  MARKET 

This  book  does  not  deal  with  antique  furniture,  such 
furniture  being  usually  too  costly  for  any  but  the  plethoric 
pocket-book;  nor  will  it  consider  large  and  magnificent 
pieces  inappropriate  to  premises  of  moderate  dimensions. 
Unfortunately,  too,  the  writer  cannot  prescribe  for  the  aver- 
age buyer  many,  many  delightful  specimens  of  the  furniture 
of  France,  Italy,  Spain,  and  Portugal  during  many  periods, 
for  the  simple  reason  that  they  are  not  made  in  commercial 


LIBERAL  PERIOD  FURNISHING  211 

furniture.  A  number  of  such  pieces  are  made  at  the  desire 
or  to  the  special  order  of  the  best  interior  architects  or  decora- 
tors and  some  of  them  may  be  seen  in  the  work  of  decora- 
tors illustrated  here.  Such  furniture  is  by  its  nature  often, 
but  not  invariably,  rather  more  costly  than  commercial 
period  furniture,  and,  if  price  is  not  of  the  first  consideration, 
it  is  advisable  to  visit  such  establishments. 

As  this  volume  is  however  for  the  general  reader,  the 
Period  furniture  that  is  shown  in  suites  or  separate  pieces  is 
the  furniture  which  may  readily  be  bought.  It  is  fine  furniture 
in  every  sense  of  the  word,  and,  unfortunately,  under  condi- 
tions present  and  likely  to  continue  for  some  years  to  come, 
such  furniture  cannot  be  made  and  sold  very  cheaply.  The 
word  "commercial"  is  one  commonly  employed  simply  to 
differentiate  the  furniture  usually  sold  by  dealers  from  that 
more  exclusively  provided  for  decorators'  use. 

Throughout  this  treatment  of  Period  furnishing  enough 
information  will  be  provided  for  the  purposes  of  the  general 
reader  and  a  sufficient  number  of  illustrations  supplied  to  give 
him  a  view  of  the  field.  It  was  impossible  to  do  more  without 
increasing  the  selling-price  of  the  volume.  It  is  hoped  that 
many  will  become  so  interested  in  the  subject  of  household 
art  as  to  wish  to  pursue  it  still  further.  Detailed  information 
of  all  descriptions  will  be  found  in  the  "Practical  Series" — 
the  volume  on  "Interior  Decoration"  by  Eberlein,  McClure, 
and  Holloway  and  that  on  "Period  Furniture"  by  the  first 
two  of  these  authors.  Part  I  of  the  first  volume  treats  ex- 
haustively of  the  decoration  of  all  Europe,  and  Part  III  con- 
tains about  150  illustrations  of  the  furniture  of  France,  Italy, 
Spain,  and  Portugal.  The  second  book  fully  treats  the  furni- 
ture of  England  and  America  and  the  principal  French  periods. 

Many  pieces  illustrated  in  the  present  volume  are  direct 
reproductions  of  authentic  styles;  many  are  "adaptations" 
preserving  the  general  characteristics  of  their  period.  The 


212         THE  SMALL  HOUSE  AND  APARTMENT 

habit  of  "adapting" — i.e.  changing  genuine  styles  to  a  greater 
or  less  degree — is  one  against  which  the  writer  has  continu- 
ally thrown  such  influence  as  he  possesses,  and  in  which  he  is 
joined  by  others.  As  it  is  now  becoming  more  difficult  in 
many  quarters  to  sell  adapted  than  authentic  furniture  the 
demise  of  the  habit  may  be  expected  eventually.  It  is  only 
fair  to  say  on  behalf  of  the  manufacturer  that  it  originated 
when  knowledge  was  by  no  means  so  general  as  at  present, 
and  that  the  conditions  of  the  industry  are  complex.  But 
the  sooner  it  is  realised  that  commercial  furniture  should 
invariably  be  authentic  the  better  it  will  be  for  everyone 
concerned. 

Meanwhile,  how  shall  the  householder  learn  what  of 
that  which  appears  in  the  general  market  to  buy  and  what 
not  to  buy?  The  best  method  is  when,  from  the  discussion 
of  decoration  and  furniture  here  given,  he  has  decided  upon 
the  style  he  wishes,  closely  to  study  the  descriptions  and 
illustrations  of  genuine  pieces  of  those  particular  styles  in 
the  two  books  above  mentioned.  He  will  then  be  able  to 
discriminate  and  purchase  only  authentic  furniture  or  that 
closely  approaching  thereto.  Needless  to  say,  much  furni- 
ture on  the  general  market  called  by  the  names  of  certain 
periods  resembles  but  remotely  the  correct  styles  and  will 
give  no  permanent  satisfaction. 

It  is  very  pleasant  to  be  able  to  say  that  a  certain  piece 
is  of  the  style  of  Charles  II  of  England  or  of  Louis  Seize  of 
France,  and  one  familiar  with  furniture  will  be  able  to  do  so, 
but  as  all  period  furniture  of  all  Europe  and  America  groups 
itself  under  one  or  another  of  the  four  great  decorative  move- 
ments, and  as  each  has  its  own  marked  characteristics  which 
very  much  concern  the  general  reader,  his  first  necessity  is  to 
learn  to  which  movement  any  piece  belongs.  The  separate 
periods  composing  it  are  treated  under  each  movement. 


LIBERAL  PERIOD  FURNISHING  213 

The  reader  will  soon  realise  how  easy  it  is,  by  this  mode, 
to  "place"  the  various  styles  of  furniture  he  sees.  These 
descriptions  will  be  concise,  omitting  particulars  and  excep- 
tions not  generally  needful. 

After  reading  the  following  chapters  he  will  not  only  be 
able  to  determine  what  wood  he  prefers,  but  what  style  of 
furnishing  is  most  in  accordance  with  his  own  temperament 
and  general  manner  of  life. 


CHAPTER  II 

THE  FIRST  AND  SECOND  MOVEMENTS 
THE  RENAISSANCE  AND  BAROQUE 

THE  FIFTEENTH,  SIXTEENTH  AND  SEVENTEENTH 
CENTURIES 

THE  PRACTICAL  USE  OF  RENAISSANCE  FURNISHING  TO-DAY.  THE 
RENAISSANCE.  THE  BAROQUE  INFLUENCE.  THE  SPANISH-AMER- 
ICAN STYLE.  ACCESSORIES  OF  BOTH  MOVEMENTS.  LIBERAL  PER- 
IOD  FURNISHING.  QUALITIES  AND  ADAPTABILITY  OF  THESE  STYLES. 

THE    PRACTICAL    USE    OF    RENAISSANCE    FURNISHING 

TO-DAY 

THESE  centuries  comprise  the  Renaissance  movement 
and  the  Baroque  (pronounce  Barok,  not  Baroak)  to  its 
end  in  Continental  Europe  and  down  to  the  homelike  Dutch 
influence  in  England. 

The  "Revival  of  Learning"  originated  in  Italy  during 
the  Fourteenth  Century.  All  of  the  arts  were  stimulated  by 
its  influence  and  hence  arose  what  is  commonly  known  as 
period  furnishing.  By  the  middle  of  the  Fifteenth  Century 
furniture-making  had  reached  an  advanced  stage  of  per- 
fection. Now  this  Italian  furnishing  vastly  concerns  the 
American,  or  the  Englishman,  or  the  Colonial,  and  for  several 
reasons.  It  was  first  in  point  of  time:  it  eventually  affected 
all  civilised  Europe,  so  that  without  it  the  furnishing  of 
Great  Britain,  France,  or  Spain  would  not  have  been  what  it 
became:  it  is  a  living  style,  one  of  the  leading  modes  to-day. 
In  America,  Italian  furniture  is  also  extensively  used  in  con- 
nexion with  that  of  England  in  the  Liberal  Period  method 
we  are  to  discuss,  and,  considering  the  appreciation  of  things 
Italian  always  met  with  in  Britain,  it  is  unfortunate  that  the 
like  custom  does  not  also  to  a  greater  degree  there  prevail. 
The  use  of  the  furniture  of  other  nations  of  the  same  influ- 
ence, grouped  with  its  own,  is  specially  commended  to  British 
readers  as  a  means  of  securing  relief  to  their  own  furnishing. 

214 


PLATE  98 


PLATE  99 


Mellor,  Meigs  A  Howe,  Architects 
AN   ENGLISH   RENAISSANCE  HALL  SHOWING  APPROPRIATE  PANELLING  AND   FURNITURE 


PLATE  100 


By  Courtesy  of  George  Howe,  Esq. 
AN   OVERMANTEL  ARRANGEMENT  IM   ITALIAN   STYLE 


PLATE  101 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Michigan 
FLORENTINE  CINQUECENTO  TABLE,   WALNUT 
Height  50  in..  Top  48  x  24  in. 

ITALIAN  XVI  CENTURY  STOOL 
Height  20  in.,  Top  19  x  15 %  in. 


THE  RENAISSANCE  AND  BAROQUE  215 

For  Americans  there  is  also  a  practical  consideration  of 
great  moment.  Our  summer  climate  very  much  more  re- 
sembles that  of  southern  Europe  than  that  of  England:  a 
realisation  of  this  and  the  advance  of  concrete  construction 
will  probably  stimulate  the  already  frequent  erection  of 
Italian-American  or  Spanish-American  houses,  and  these 
homes  must  be  appropriately  furnished. 

THE  RENAISSANCE 

Plate  98  is  an  excellent  example  of  both  the  interior 
architecture  and  furniture  of  the  Italian  Renaissance  as  em- 
ployed in  an  American  dining-room  of  medium  size.  The 
mantel,  the  dignified  simplicity,  and  the  absence  of  over- 
crowding are  all  typical  of  the  mode. 

The  Revival  of  Learning  was  a  newly  awakened  interest 
in  the  literature  of  Greece  and  Rome  and  in  all  that  per- 
tained to  those  civilisations;  so  that,  naturally,  the  basis  of 
Renaissance  architecture  and  decoration  was  Classic,  though 
much  Oriental  influence  came  through  channels  of  trade. 
Straight  lines  and  the  arch  therefore  prevailed  in  the  con- 
struction of  furniture:  the  other  curves  mostly  appear  in 
ornament  though  in  some  contours  also. 

Furnishing  is  more  than  furniture.  In  every  period 
that  furniture  was  accompanied  by  its  appropriate  textiles, 
accessories  and — first  of  all — by  its  permanent  background. 
Many  of  these  wall-surfaces,  particularly  of  later  times,  when 
now  adopted  require  the  professional  aid  of  an  interior- 
architect  or  decorator.  Some  of  them  are  not  suitable  for 
premises  of  modest  dimensions,  and,  under  modern  condi- 
tions the  historic  wall-treatments  are  frequently  not  feasible. 
These  matters  will  be  discussed  as  we  procede.  In  any  case, 
however,  their  leading  features  are  described,  as  furniture 
should  not  be  used  without  some  understanding  of  the  spirit 
it  represents  and  the  surroundings  appropriate  to  it.  De- 


216         THE  SMALL  HOUSE  AND  APARTMENT 

tails  are  nevertheless  avoided;  because,  if  such  walls  are  used 
the  decorator  is  familiar  with  them,  and  if  they  are  not 
literally  employed  then  a  mass  of  particulars  would  prove 
a  burden. 

Waiving  exceptions,  then,  as  we  shall  do  here,  the  nor- 
mal wall-surface  of  the  more  strictly  Renaissance  period  in 
Italy  was  plaster,  plain  or  sand-finished:  in  France  it  was 
stone  or  plaster:  in  England  small  panelling  of  oak,  square  or 
rectangular  (Plate  99)  the  wall  being  entirely  so  covered,  or 
with  plaster  appearing  above  it.  In  the  less  pretentious 
homes  and  cottages,  or  in  their  less  public  rooms  at  least,  the 
walls  were  quite  frequently  of  plaster  only.  In  Spain  they 
were  of  plaster,  often  with  a  dado  of  tile,  painted  canvas, 
leather,  or  fabric.  Diapered  and  other  decorated  walls  were 
used  to  a  considerable  extent  in  Italy,  particularly  toward  the 
latter  part  of  the  age. 

If,  then,  the  Renaissance  period  be  chosen  for  modern 
furnishing  and  the  basis  be  English,  small  oak  panelling, 
either  alone  or  with  plaster  above,  will  be  the  natural  back- 
ground if  this  be  feasible:  if,  owing  to  circumstances  to  be 
recited  later,  it  is  not,  then  plaster  will  be  appropriate,  espec- 
ially as  it  is  a  general  Renaissance  background.  If,  again, 
this  is  found  impossible,  then  a  paper  with  considerable  rough- 
ness of  appearance,  resembling  plaster,  should  be  employed. 
Sand  colour  or  pale  neutral  grey  would  be  the  best  tone. 

The  main  characteristic  of  most  of  these  walls  of  the 
early  period  was  simplicity;  but  it  would  be  a  great  mistake 
to  consider  them  devoid  of  interest,  for,  as  we  shall  see,  they 
were  abundantly  relieved.  In  small  rooms  they  are  particu- 
larly valuable  as  adding  to  the  effect  of  space;  and  plain  or 
nearly  plain  walls  are  from  choice  often  employed  by  eminent 
decorators  in  schemes  of  otherwise  considerable  elaboration. 

Appropriateness  allows  the  use  of  other  materials  evi- 
dencing the  correct  spirit,  and  so  the  Caen-stone  of  the  hall 


I 

M.  Schlesinger,  Inc.,  Manufacturers,  New  York  City 

LIVING-ROOM  TABLE  DECORATED  IN  GOLD  AND  POLYCHROME 
Height  31  in.,  Length  60  in..  Width  18  in.     Also  similar  design.  Height  24  in..  Length  26  in..  Width  16  in. 

ITALIAN  CHAIR  IN  WALNUT  AND   GOLD 
Height  34  in..  Width  \~i  in.,  Depth  15  in. 


PLATE  103 


PLATE  104 


PLATE  105 


Manufactured  by  Kittinger  Co.,  Inc.,  Buffalo,  N.  Y. 

ITALIAN  WALL  OR  SOFA  TABLE,   WALNUT.     Length  54  in..  Width  20  in..  Height  30  in. 
CROMWELLIAN   DESK  CHAIR.   WALNUT.     Height  37  in..  Width  17  in..  Depth  15  in. 
CROMWELLIAN   DESK,   WALNUT.     Height  46  in..  Width  33  in  ,  Depth  17  in. 


THE  RENAISSANCE  AND  BAROQUE  217 

in  Plate  10  forms  an  excellent  background  to  the  Italian  fur- 
niture. The  antique  red  damask  portiere  here  seen  brings  us 
to  the  subject  of  colour. 

For  the  relieving  of  large,  plain  surfaces  the  hues 
sensibly  everywhere  employed  were  full-bodied — rich  crim- 
sons, purple,  blues,  and  greens,  very  frequently  with  an  abun- 
dance of  gold  galons.  Plain  and  cut  velvets,  brocades,  and 
brocatelles,  often  in  a  combination  of  colours,  or  beautiful 
needlework,  were  the  coverings  of  the  seating-furniture. 
Tapestries,  or  other  handsome  hangings  upon  the  walls  were 
typical  in  all  countries  during  this  period.  Plate  100  illus- 
trates a  fine  modern  use  of  an  Italian  picture  and  frame  upon 
a  beautiful  hanging  as  an  overmantel  decoration,  with  a 
tapestry  upon  the  main  wall-surface. 

It  should  be  remembered  that  in  early  times  the  poor 
had  little  furniture  of  any  kind,  and  that  it  is  mainly  to 
palaces  and  villas  that  we  have  to  look  for  our  information. 
One  not  informed  upon  the  subject  would  be  amazed  at  the 
small  amount  of  furniture  used  in  the  mansions  of  England 
even  in  the  days  of  Elizabeth;  this  consisting  largely  in  hand- 
some wall  pieces  such  as  cupboards,  chests  and  buffets.  There 
were  refectory  tables,  but  boards  upon  trestles  were  com- 
monly seen.  There  would  be  a  wainscot  chair  of  heavy  pro- 
portions and  panelled  back  for  the  master,  while  others  sat 
upon  stools  or  benches.  During  the  succeeding  reigns  com- 
fortable furniture  greatly  increased  in  use.  The  beds  were 
magnificent  affairs  with  testers  and  huge  bulbous  posts. 

In  Italy  furniture  was  likewise  sparse  but  was  of  won- 
derful beauty.  As  the  rooms  were  of  immense  size  the  fur- 
niture was  correspondingly  massive  and  heavy.  The  chests 
or  cassoni  were  particularly  notable,  often  being  magnifi- 
cently carved  and  frequently  with  the  addition  of  poly- 
chrome and  gilding.  Plate  121  shows  a  small  credence  of 
this  period  with  a  polychrome  shrine  above,  against  rough 


218         THE  SMALL  HOUSE  AND  APARTMENT 

plaster  walls.  All  these  are  typical.  The  credenza  was  usu- 
ally of  this  general  form  but  longer,  and  was  used  as  a 
buffet  in  dining-halls  and  as  a  cabinet  or  cupboard  in  other 
rooms.  It  was  made  both  with  and  without  drawers.  The 
madia  was  another  interesting  piece,  being  a  small  cupboard 
or  desk  raised  upon  shaped  flat  supports  at  the  two  ends. 
One  of  the  most  characteristic  forms  of  chairs  was  that  with 
a  base-stretcher  or  runner,  like  those  in  the  furniture  in  Plate 
103.  The  two  supports  of  the  back  extended  above  it  in 
carved  finials,  usually  gilded.  Another  typical  chair  is 
shown  in  Plate  102.  There  were  of  course  many  variations 
in  these  forms,  some  being  very  ornamental  and  others  plain. 
The  tables  with  legs  often  had  the  stretchers  set  slightly 
higher  up  than  the  first  example  (see  Plate  98).  The  lyre 
form  (a  classical  motif)  of  table-end  (Plate  101)  was  a  great 
favourite  and  was  used  in  infinite  variety.  Baluster  bases 
and  Pedestal  (Plate  105)  bases  were  also  frequent. 

Practically  all  of  the  above  exist  in  American  reproduc- 
tions, though  the  most  elaborate  are  necessarily  expensive. 

Comfortable  adaptations  of  Italian  Renaissance  pieces 
for  modern  homes  of  moderate  size  are  shown  in  Plates 
101,  1 02,  103,  and  105.  There  is  much  furniture  of  this  type 
upon  the  market  and  the  householder  will  have  no  difficulty 
in  supplying  his  needs.  Plate  103  illustrates  a  dining-room 
suite  of  Italian  Renaissance  derivation  and  Plates  104  and 
106  two  of  English  type.  Such  things  as  suites  were  of 
course  unknown  in  those  times,  but  it  is  only  the  few  now-a- 
days  who  care  to  be  archseologically  correct  and  for  those 
who  do  not  the  anchronism  will  prove  no  objection.  The 
furniture  in  both  cases  is  decidedly  handsome,  and  it  will  be 
interesting  to  note  that  the  general  contours  of  the  two  types 
closely  correspond.  Plate  42  shows  a  dining-room  with 
furniture  of  a  simplified  type  which  will  interest  English 
readers  as  it  is  on  sale  in  London. 


PLATE  106 


PLATE  107 


Manufactured  by  Century  Furniture  Co..  Grand  Rapids,  Mich. 
LATE  JACOBEAN  TABLE-DESK.  WALNUT.     Top  28  x  54  in..  Height  ?1  in. 
DROP-LEAF  TABLE,  MAHOGANY.     Top  20  x  70  in..  Height  JO  in. 

FARTHINGALE  CHAIR  OF  1612,   REPRODUCTION.     Height  ?6  in..  Width  21  in. 
OAK  OR  MAHOGANY 


THE  RENAISSANCE  AND  BAROQUE  219 

Unfortunately  there  are  practically  no  reproductions  of 
French  Renaissance  pieces  to  be  found  among  American 
commercial  furniture.  Here,  too,  most  of  them  were  large 
and  formal,  but  smaller  sizes  could  readily  be  made.  Though 
France  received  its  inspiration  from  Italy,  its  furniture  was 
in  no  way  inferior,  and  the  fineness  of  proportion  and  orna- 
ment so  characteristic  of  French  design  and  workmanship 
in  later  periods  was  already  then  manifest. 

The  characteristics  of  Spanish  furniture  will  be  dis- 
cussed later. 

During  the  Sixteenth  Century  an  increasing  desire  for 
magnificence  on  the  part  of  the  Italians  eventually  led  to  a 
decorative  development  which,  like  the  Renaissance  move- 
ment, in  time  influenced  all  Europe  as  well.  Both  archi- 
tecture and  furniture  grew  more  ornate,  ornament  became 
exaggerated  in  scale,  heavy,  and  pervasive,  and  the  curve 
everywhere  asserted  its  dominance  over  the  straight  line. 
This  influence — especially  noticeable  after  about  1570 — is 
called  the  Baroque. 

THE  BAROQUE  INFLUENCE 

As  always,  the  transition  was  everywhere  gradual.  At 
first  furniture  retained  its  generally  Renaissance  lines  with 
but  few  Baroque  characteristics :  Plate  105  shows  adaptations 
of  this  type.  Later,  ornament  became  more  aggressive, 
as  illustrated  in  Plate  108.  The  Baroque  style  is  by  some 
purists  considered  a  decadent  influence,  but  when  it  did  not 
run  to  extremes  it  produced  results  that  the  world  could  not 
well  have  spared. 

In  order  to  present  a  broad  and  untrammelled  view  of 
these  movements  periods  have  not  until  now  been  mentioned. 

Italy  at  this  time  consisted  of  several  small  states — if  the 
reader  is  seeking  bewilderment  let  him  dip  into  their  political 
history — and  so  the  architecture  and  furniture  of  the  epoch 


220        THE  SMALL  HOUSE  AND  APARTMENT 

are  not  called  by  the  names  of  rulers  but  are  roughly  divided 
into  the  Early  and  High  Renaissance,  the  latter  being  the 
fully  developed  style.  The  previously  so-called  "Late 
Renaissance"  finds  the  much  more  appropriate  term:  the 
Baroque  influence. 

We  have  already  seen  that  although  the  basic  idea  of 
the  Renaissance  was,  as  the  name  itself  implies,  the  rebirth  of 
Classicism,  that  idea  was  not  slavishly  employed,  and  that 
many  oriental  elements,  with  which  the  Italians  had  grown 
thoroughly  familiar  through  centuries  of  intercourse,  were 
amalgamated  with  those  of  antiquity.  These  found  an 
increasing  use  as  the  severity  of  the  Early  Renaissance  gave 
way  to  elaboration  on  every  hand.  The  natural  conse- 
quence was  that  there  remained  little  basic  resemblance  be- 
tween the  furniture  of  the  fifteenth  century  and  that  of  the 
seventeenth,  and  the  inappropriateness  of  still  terming  as 
Renaissance  a  decoration  in  which  the  old  spirit  had  ceased 
to  be  the  impulse,  the  folly  of  attempting  to  fit  the  one  no- 
menclature to  two  movements  totally  diverse  in  ideals,  means 
employed,  and  results,  the  one  Classic  and  the  other  emo- 
tional and  Romantic,  will  now  appear. 

But  in  two  respects,  there  was  no  great  change — those 
of  size  and  weight;  and  so  important  are  these,  that,  not- 
withstanding many  other  variations,  the  pieces  of  furniture 
of  the  two  impulses  are  oftener  than  not  found  agreeably  to 
accompany  each  other,  while  those  of  later  and  lighter  per- 
iods do  not  usually  assimilate  with  either. 

In  England  the  epoch  is  divided  into  the  Elizabethan 
and  the  Jacobean  periods,  the  latter  so  called  because  it  em- 
braced the  years  from  the  beginning  of  the  reign  of  James  I 
till  the  end  of  that  of  James  II.  But  other  reigns  and  the 
Puritan  Commonwealth  intervened,  and  the  latter  portion 
of  this  epoch  was  under  the  Baroque  influence.  The 
chronology  is  as  follows: — 


PLATE  108 


Manufactured  by  Kittinger  Co.,  Inc.,  Buffalo,  N.  Y. 


FLEMISH  END  TABLE,   WALNUT 
Top  20  x  20  in..  Height  25  in. 

ITALIAN  ARM  CHAIR,   WALNUT,  TAPESTRY  COVERING 

Height  36  in.,  Width  27  in. 


PLATE   109 

' 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Michigan 
LATE  JACOBEAN  CONSOLE  AND  CHAIRS.  QUEEN  ANNE  MIRROR 
Console,  Top  21  x  54  in..  Height  11%  in. 
Arm  chair.  Width  24  in..  Height  45  in. 
Side  chair.  Width  20  in..  Height  38  in. 
Mirror,  49  x  24^  in. 


PLATE  1 10 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids 

LOUIS  QUATORZE  ARM  CHAIR 

Height  45  in..  Width  27  in. 


PLATE  in 


Manufactured  by  The  Elfin  A.  Simons  Co.,  Syracuse.  N.  Y. 
HEXAGON  TABLE  AND  CHAIR  OF  SOLID  WALNUT 
An  accompanying:  Arm  chair  is  also  made 
Table,  Height  28  in..  Top  34  in. 


Manutaciured  by  The  Elgin  A.  Simons  Co.,  Syracuse,  N.  Y. 
HALL  SUITE  IN  WALNUT 
Console,  Height  36  in..  Top  53  x  16  in. 
Mirror,  20  x  42  in. 


THE  RENAISSANCE  AND  BAROQUE  221 


Elizabeth  (Tudor)  1558-1603 

James  I  (Stuart)  1603-1625 


Renaissance 


Charles  I  (Stuart)  1625-1649 

The  Commonwealth  (Cromwell)      1649-1660 

Charles  II  (Stuart  Restoration)  1660-1685 

James  II  (Stuart)  1685-1688  Baroque 

William  and  Mary   (Dutch  Influence)   1688-1702 

In  France  the  Renaissance  movement,  introduced  to 
some  extent  by  his'  predecessors,  was  greatly  developed  by 
Francis  I  (1515-47)  but  classical  influences  did  not  prevail 
till  the  next  reign,  that  of  Henri  II  (1547-59).  The  Baroque 
influence  was  strongly  evident  under  the  reigns  of  Henri  IV 
(1589-1610)  and  Louis  XIII  (1610-43)  but  was  modified  in  a 
classical  direction  under  Louis  XIV  (1643-1715). 

It  will  be  seen  that  it  required  about  one  hundred  years 
for  the  Baroque  movement  to  become  dominant  in  England 
after  its  advent  in  Italy.  The  introduction  of  such  move- 
ments always  has  an  interesting  cause.  After  the  fall  of 
Cromwell,  when  the  monarchy  was  restored  in  the  person  of 
Charles  II,  there  was  a  decided  reaction  from  the  hard  and 
narrow  Puritanism  of  the  Commonwealth,  and  the  pendu- 
lum swung  very  far  indeed.  Luxury,  fashion,  and  lavish 
expenditure  again  became  prevalent,  foreign  modes  were 
avidly  seized  upon.  Naturally  these  came  from  the  Con- 
tinent, including  even  Portugal — the  King  having  married 
Catherine  of  Braganza  in  1661.  In  all  these  countries  the 
Baroque  influence  was  active,  and  (though  there  had  been 
some  earlier  manifestations)  it  now  found  a  home  in  England 
to  abide  till  the  days  of  the  Brothers  Adam. 

Now  how  shall  the  furniture  of  all  countries  under  the 
Baroque  influence  be  recognised?  It  was  of  many  varieties, 
but  in  all  of  them  the  prevalence  of  curvilinear  contours  and 
ornament  was  notable.  The  cabriole  (double-curved  or 
serpentine)  leg  and  much  carved  or  shaped  stretchers  were 


222         THE  SMALL  HOUSE  AND  APARTMENT 

often  employed,  but  two  of  its  most  characteristic  forms  were 
the  broken  curve  and  the  C  curve.  These  curves  were  not 
slender  and  flowing,  as  in  the  subsequent  Rococo  style,  but 
were  short,  thick,  and  heavy,  and  were  what  the  writer  has 
previously  called  "stopped"  curves;  that  is  to  say,  they  were 
ended  by  whorls,  or  circular  ornaments.  The  shell  was  also 
very  prevalent  as  an  adornment.  • 

English  Baroque  furniture  is  seen  in  the  following 
illustrations:  Plates  109,  in,  112,  114,  115. 

Plate  114  is  a  beautiful  example  of  formal  treatment 
combined  with  comfort,  and  of  richness  contrasted  with  sim- 
plicity. The  walls  are  plain,  with  coat  of  arms  and  just  suf- 
ficient ornament  on  fireplace  and  ceiling  for  charm,  while  the 
furniture  is  handsome  and  the  upholstery  and  draperies  sump- 
tuous. The  spiral  turning  of  legs  became  a  favourite  mode 
in  Stuart  times,  about  1665:  the  double-arch  settee  is  of  the 
period  of  William  and  Mary.  The  mantel  ornaments  are 
admirably  adapted  to  this  interior  and  properly  arranged. 

A  William  and  Mary  hall-suite  is  shown  in  Plate  in, 
and  an  attractive  love-seat  with  appropriate  covering  in 
Plate  112. 

Marqueterie  and  lacquered  pieces  were  frequent:  some 
of  the  latter  are  made  in  commercial  furniture. 

Two  strongly  marked  varieties  of  furniture  existed  in  the 
few  years  comprising  the  reign  of  William  of  Orange  and 
Queen  Mary — the  very  ornamental  type,  which  was  a  heri- 
tage from  the  previous  Stuart  times,  and  the  simple  type 
represented  by  the  highboy  in  Plate  115,  which  was  the 
result  of  the  homelike  Dutch  influence  brought  in  by  the 
stadtholder.  The  legs  might  be  of  the  inverted-cup  shape, 
or  trumpet-turned  as  in  this  instance,  spiral,  octagonal,  or 
spindle.  No  furniture,  probably,  is  a  greater  favourite  with 
manufacturers  than  this  simple  William  and  Mary  style.  It 
is  perfectly  easy  to  turn  the  legs  in  correct  fashion  and  such 


PLATE  112 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids.  Mich. 


WILLIAM  AND  MARY  LOVE  SEAT  IN  WALNUT,  WITH   DOWN   CUSHION 
Height  34  in.,  Length  43  in. 

PROVENCE  ARM  CHAIR.   EPOQUE  LOUIS  QVATORZE.   WALNUT 
Height  36  in..  Width  23  in. 

QUEEN  ANNE  WIXG  CHAIR  IN  MAHOGANY.   REPRODUCTION 
Height  40  in..  Width  29  in. 


PLATE  113 


THE  RENAISSANCE  AND  BAROQUE  223 

furniture  is  to  be  had,  but  a  great  deal  of  that  upon  the  market 
is  very  faulty,  and  anyone  considering  the  purchase  of  William 
and  Mary  furniture  would  do  well  to  consult  all  the  authentic 
pieces  shown  in  "The  Practical  Book  of  Period  Furniture". 
This  was  a  very  colourful  period  when  rich  fabrics  and  needle- 
work (Plate  113)  were  much  used.  Handsome  printed 
linens  were  frequently  employed  as  draperies  for  bedrooms. 

French  furniture  of  the  Baroque  influence  is  very  ornate, 
and  little  of  it  is  suitable  for  small  premises.  In  some  of  the 
pieces  of  Louis  Quatorze  style,  however,  adornment  was 
pared  to  the  minimum,  as  in  the  excellent  chairs  shown  in 
Plates  1 10  and  112,  and  this  furniture  is  very  attractive  used 
for  relief  in  connexion  with  English  or  Italian  pieces  of 
similar  qualities. 

Some  William  and  Mary  furniture  closely  resembled 
certain  Louis  Quatorze  forms,  as  the  influence  of  French 
fashions  was  strong  in  England  and  many  French  workmen 
emigrated  to  that  country  upon  the  revocation  of  the  Edict 
of  Nantes.  These  forms  are  not  shown  here  as,  again,  they 
are  ornate  and  they  are  not  reproduced  in  American  com- 
mercial furniture.  They  are,  however,  mentioned  as  another 
instance  of  the  powerful  effect  of  one  country  upon  another. 
Influences  from  both  Spain  and  Portugal  were  also  common 
in  William  and  Mary  and  Queen  Anne  English  furniture. 

In  the  next  English  period — the  Queen  Anne  -  Early 
Georgian — the  furniture  still  remained  Baroque,  but,  as  it 
was  a  very  different  manifestation  of  the  influence,  it  is 
treated  in  the  following  chapter  on  the  early  Eighteenth 
century,  so  that  chronology  may  not  be  disturbed.  It  will 
be  necessary  to  say  but  a  few  words  upon  the  subject  of  the 
walls  of  Baroque  influence,  but  they  bring  us  to  a  matter  of 
moment  in  our  modern  procedure. 

As  has  been  mentioned,  the  permanent  background  is 
of  as  great  importance  as  the  remaining  features.  But,  in 


224         THE  SMALL  HOUSE  AND  APARTMENT 

furnishing  small  premises  to-day,  what  shall  we  do  when,  as 
so  frequently  happens,  such  backgrounds  were  ornate  and 
costly?  No  modern  designer  has  succeeded  in  equalling  the 
beauty  of  period  furniture:  shall  we  deprive  ourselves  of 
its  use  because  conditions  forbid  our  enduing  it  with  its 
historic  background? 

What  is  the  exact  situation,  and  what  is  the  sensible 
point  of  view  under  existing  conditions  ? 

In  the  first  place,  such  wall-surfaces  were  usually  de- 
signed for  large  and  imposing  rooms  and  would  for  the  most 
part  be  inappropriate  for  modest  modern  homes.  Then, 
many  such  homes  are  nowadays  rented,  and  permanency  of 
tenancy  cannot  be  certain;  even  when  property  is  owned  by 
the  occupant  such  backgrounds  may  be  too  costly  for  his 
means.  These  latter  obstacles  are  inherent  in  our  modern 
life,  and  if  Period  furnishing  is  to  live  it  must  prove  adaptable 
to  the  conditions  of  the  age  in  which  it  is  being  practised. 
We  are  able  in  all  other  respects  than  that  of  background  to 
carry  out  such  furnishing — the  proper  furniture,  textiles  and 
accessories  are  at  hand.  It  is  extremely  probable  that  in 
all  times  homes  of  modest  scope  existed  in  which  the  wall- 
surfaces  were  simple  or  plain.  The  sensible  procedure 
would  therefore  seem  to  be  to  retain  the  spirit  of  the  par- 
ticular epoch  chosen  and  give  to  our  furnishing  a  background 
which,  however  simple,  shall  still  be  appropriate.  Where 
circumstances  permit  the  aid  of  architect  or  decorator, 
simpler  versions  of  ornate  backgrounds  readily  may  be 
designed:  if  the  walls  must  be  plain,  let  them  at  least  be 
suitable.  And  this  applies  to  subsequent  periods  as  well  as 
to  that  now  under  discussion.  We  may  not  be  able  to  do  all 
that  we  wish,  but  we  must  riot  misuse  furniture :  it  would,  for 
instance,  be  absurd,  or  criminal,  to  employ  as  a  background 
for  heavy  Renaissance  pieces  the  white-panelled  walls  of  a 
small  American  Colonial  house. 


PLATE  115 


SIMPLE  PERIOD   FURNISHING 

William  and  Mary  highboy  with  Italian  painted  wall-plaques  above 


THE  RENAISSANCE  AND  BAROQUE  225 

The  few  necessary  words  upon  Baroque  walls  may  now 
be  said.  In  Italy  these  permanent  backgrounds  were  of 
the  greatest  magnificence:  mantels  were  richly  carved,  often 
every  inch  of  wall  and  ceiling  was  covered  with  gorgeous 
frescoes  and  gilding;  coloured  marbles  and  polychrome  en- 
richments were  in  constant  use;  even  doors,  shutters,  and 
beamed  ceilings  were  frequently  painted,  and  especially  if, 
as  still  also  sometimes  occurred,  the  walls  remained  plain. 
In  elaborate  interiors  the  floors  were  of  marble  or  mosaic. 
Such  backgrounds  are  naturally  out  of  place  in  all  but  "pala- 
tial residences"  to-day,  but  effective  simplifications  may  be, 
and  are,  used  in  houses  and  apartments  of  moderate  size, 
where  the  occupants  have  the  desire  for  historic  surroundings 
and  the  means  to  accomplish  their  wish.  In  most  cases  plaster 
walls — sand-finished  or  plain — or  roughly-surfaced  paper  of 
light  buff  or  warm  grey  will  be  sufficient  and  appropriate. 

In  France  during  the  earlier  years  of  the  Baroque  influ- 
ence, walls  were  panelled  either  wholly  or  in  part  (small 
panels  usually  being  used)  or  stone-faced,  or  plastered.  From 
the  time  of  Henri  II  to  the  end  of  the  epoch  divers  methods 
were  employed,  but  all  were  magnificent  and,  being  ill-suited 
to  modest  properties,  no  further  details  are  necessary  here. 

In  England  during  this  influence,  two  types  of  walls 
existed.  The  earlier,  small  panelled  wall  (Plate  99)  with  few 
changes,  still  remained  in  use;  and,  bwing  to  the  agency  of 
Inigo  Jones,  Wren  and  others,  a  new  style  came  into  being. 
Other  woods  were  employed  as  well  as  oak,  panelling  grew 
larger,  decorative  carving  by  Grinling  Gibbons  and  his  fol- 
lowers was  characteristic,  and,  especially  toward  the  end  of 
the  century,  the  painting  of  the  woodwork  in  white,  grey, 
blue-green  and  the  like  became  common,  and  gilding  was 
sometimes  applied  to  mouldings  and  carvings.  Such  walls 
can  only  be  carried  out  by  the  aid  of  architect  or  decorator. 

In  their  place,  in  modest  modern  homes,  smooth  plaster 


226         THE  SMALL  HOUSE  AND  APARTMENT 

walls  or  paper  not  so  rough  as  formerly,  will  give  an  appro- 
priate surface.  These  may  be  in  such  tints  as  the  above.  A 
colourful  effect  will  be  given  through  the  use  of  textiles,  such 
as  those  already  shown  in  interiors  of  the  period.  The  patterns 
of  printed  linens  resembled  that  of  the  needlework  draperies 
shown  in  Plate  113  but  were  frequently  smaller  in  design. 

THE  SPANISH-AMERICAN  STYLE 

We  should  be  grateful  to  the  Spanish  Mission  priests  not 
only  for  introducing  into  America  the  early  architecture  of 
their  native  land,  but  for  so  successfully  adapting  it  to  its 
new  home  with  its  local  conditions  and  materials.  Along 
with  these  noble  buildings  it  was  but  likely  that  the  style 
should  be  embraced  for  domestic  purposes  also,  and,  as  is 
usually  the  case  with  a  natural  growth,  the  results  have  gen- 
erally been  of  the  happiest. 

The  mode  is  spreading  to  many  other  parts  of  the  coun- 
try, and  it  is  exceedingly  welcome  because  of  its  suitability 
to  our  semi-tropical  summer  climate  and  its  constructional 
advantages.  For  city  apartments,  too,  it  has  been  found 
that  interiors  in  this  style  are  exceedingly  attractive  with 
their  proper  furnishings  (Plates  116  and  120)  and  es- 
pecially if  relieved,  through  the  Liberal  period  method,  with 
a  few  pieces  of  the  current  movement  of  other  nationalities. 

With  all  the  existing  thousands  of  these  houses  little 
thought  has  been  given  to  their  appropriate  furnishing,  and 
certainly  no  special  provision  has  been  made  for  them  by 
manufacturers.  At  first  glance  the  logical  forms  to  be 
adopted  would  seem  to  be  a  style  based  upon  what  original 
furniture  is  found  to  remain  in  the  Mission  buildings  them- 
selves, but  a  little  further  thought  will  show  the  incorrectness 
of  this.  Besides  taking  into  account  the  ecclesiastical  char- 
acter of  all  their  appurtenances,  it  must  be  remembered  that 
American  Indian  local  talent  was  employed  in  their  erection 


PLATE  116 


By  Courtesy  of  Good  Furniture  Magazine 
ELABORATE  SPANISH  RENAISSANCE  FURNISHING  IN  A  NEW  YORK  CITY  APARTMENT 


PLATE  117 


THE  RENAISSANCE  AND  BAROQUE  227 

and  furnishing.  Again,  this  very  wise  step  would  seem  to 
make  the  existing  furniture  all  the  more  valuable  to  us,  as 
being  "racy  of  the  soil",  but  in  actuality  it  proves  too  clumsy 
and  too  inelegant  for  modern  decorative  use.  For  proper 
furnishing  we  should  therefore  look  to  the  early  homes — if 
such  still  remain — of  the  same  civilisation  where  it  attained 
greater  domestic  development;  that  is  to  say,  farther  south, 
in  Mexico.  While  such  original  furniture  of  the  early  period 
would,  then,  be  the  logical  model  for  us  to  follow,  a  search 
for  it  would  be  full  of  inconveniences  and  difficulties,  and 
after  undergoing  them,  we  should  find  that,  after  all,  the 
pieces  did  not  differ  materially  from  those  of  old  Spain,  their 
place  of  origin.  For  Spanish-American  houses  of  the  better 
class,  where  expense  is  not  prohibitive,  Spanish  Renaissance 
and  Baroque  furniture  is,  therefore,  the  correct  thing  to  use; 
and  its  less  ornate  forms  might  readily  be  supplied  by  manu- 
facturers for  less  costly  interiors. 

Spanish  mobiliary  styles  were  those  of  Italy  with  very 
interesting  local  modifications  and  characteristics,  many  of 
these  naturally  being  of  Moorish  inspiration  (see  the  large 
armoire  with  small  panels  in  Plate  120).  The  "Span- 
Umbrian"  furniture  illustrated  (Plate  117),  as  its  name  im- 
plies, shows  details  of  both  nationalities  and  may  be  employed 
in  these  interiors.  Dining-room  furniture  in  this  mode  is 
also  supplied  by  the  same  manufacturers.  Some  Spanish 
reproductions  will  be  found  in  the  establishments  of  high- 
class  decorators  in  the  large  cities. 

While,  for  the  reason  mentioned,  we  should  not  find 
reproductions  of  the  furniture  of  Indian  workmanship  par- 
ticularly pleasing  for  domestic  use,  it  would  indeed  be  a  pity 
not  to  preserve  and  employ  such  examples  of  this  indigenous 
craftsmanship  as  we  may.  Many  of  their  textiles,  baskets, 
pieces  of  pottery,  and  the  like,  are  exceedingly  attractive 
and  should  take  their  place  as  accessories.  We  should  like- 


228         THE  SMALL  HOUSE  AND  APARTMENT 

wise  remember  the  old  Spanish  love  of  strong,  not  to  say  hot, 
colour,  and  there  should  be  no  anaemic  effects  in  these  in- 
teriors. The  walls  should  be  of  plaster,  tiles  may  be  used  to 
great  advantage,  and  crowding  should  be  notable  by  its 
entire  absence.  Tapestries  and  other  rich  hangings  were 
typical.  A  fine  adaptation  of  this  style  to  modern  apart- 
ment-uses will  be  seen  in  Plate  116 — for  which,  with  its 
description,  I  am  indebted  to  Good  Furniture  Magazine. 

This  apartment,  overlooking  the  lake  in  Central  Park, 
New  York,  presented  no  natural  advantages  for  the  decora- 
tion chosen,  and  indeed  careful  consideration  was  necessary 
in  the  obviation  of  difficulties.  The  height  of  the  ceiling  is 
cut  down  in  appearance  by  the  use  of  deep  valances,  those 
elsewhere  in  the  room  being  of  antique  rose-coloured  velvet 
splendidly  embroidered  in  gold.  The  valance  and  curtains 
at  the  left  of  the  illustration  are  of  modern  rich  brocade,  the 
old  rose  pattern  standing  out  in  relief  against  a  ground  of 
soft  old  gold.  The  wall-paper  is  of  light  neutral  tint  similar 
in  tone  to  the  warm  grey  of  the  woodwork,  and  in  close  har- 
mony with  the  natural  colour  of  the  silk  hangings  at  doors 
and  windows.  The  overdoor  valance  is  of  heavy  antique 
lace  with  delightfully  quaint  designs.  In  the  rugs  and  else- 
where appear  also  warm  greys,  old  rose,  and  gold,  with  dull 
blue  and  green.  The  huge  candlesticks  are  of  carved  wood, 
gilded,  and  the  chairs  in  old  reds  and  rose  with  gold.  Golden 
tone  likewise  appears  in  the  repousse  metalwork  of  the  chest, 
relieved  by  the  background  of  velvet  panels  in  faded  reds. 

This  particular  example  is  of  course  elaborate  and  expen- 
sive, but  similar  effects  of  appropriate  Spanish  furnishing 
could  be  carried  out  with  modern  and  less  costly  materials. 

Regarding  the  present-day  use  of  colour  for  these  per- 
iods it  may  be  suggested  that  while  it  was  originally  strong 
it  became  mellowed  in  the  course  of  time.  We  may  use  these 
antiqued  and  mellowed  tones — and  some  of  our  modern 


THE  RENAISSANCE  AND  BAROQUE  229 

textiles  carefully  reproduce  them — but  we  should  not  for- 
get their  original  hues  and  should  not  employ  washed- 
out  effects. 

The  Spanish- American  style  is  to  be  commended, 
especially  as  it  affords  a  relief  to  the  woefully  overworked 
American  Colonial  home — it  would  be  interesting  to  know 
how  many  tens  of  thousands  of  these  exist  in  the  imme- 
diate neighbourhood  of  Philadelphia  alone. 

Nevertheless  it  should  be  said  that  also  suitable  cli- 
matically and  usually  much  better  adapted  to  our  Northern 
and  Eastern  landscape,  is  the  small  French  house.  The 
writer  has  often  protested  against  the  total  neglect  of 
this  style  by  American  architects,  and  is  glad  to  men- 
tion that  within  the  next  year  or  two  a  large  number  of 
these  beautiful  and  appropriate  houses  will  be  brought  to 
the  attention  of  the  public. 

Mission  furniture  is  straight-forward  and  simple  but 
is  also  heavy,  utilitarian,  and  unlovely  in  its  lack  of 
grace.  For  modern  homes  the  lighter,  straight-line  pieces 
shown  in  Plates  14  and  15  will  be  found  preferable.  But, 
one  of  the  impediments  to  its  desirability  has  been  the  dull- 
hued  leather-seatings  hitherto  accompanying  it:  do  away 
with  these,  use  the  Mission,  if  needs  be,  or  the  more  attrac- 
tive lighter  furniture,  with  rich  crimson  or  blue  mohair 
velvet  for  its  cushioning  (or  good  rep  if  the  mohair  velvet 
cannot  be  afforded)  and  surround  it  with  other  attractive 
furnishings  and  accessories,  and  the  modest  home  will  have 
beauty  and  charm. 

In  thus  treating  the  Spanish-American  interior,  the  prin- 
ciple features  of  early  Spanish  furnishing  have  themselves 
been  mentioned  as  well.  In  strictly  Spanish  interiors 
Moorish  characteristics  may  be  given  much  more  play. 


23o         THE  SMALL  HOUSE  AND  APARTMENT 

ACCESSORIES  OF  BOTH  MOVEMENTS 

The  accessories  used  during  the  Renaissance  and 
Baroque  movements  were  very  numerous.  Among  them 
were  the  following: — 

Most  characteristic  and  most  widespread  in  their  em- 
ployment were  the  wall  hangings,  already  referred  to.  In 
place  of  the  now  nearly  priceless  original  tapestries,  needle- 
work, and  armorial  draperies,  we  may  now  use  some  of  the 
modern  reproductions  of  suitable  design  and  moderate  cost, 
or  brocade,  which,  if  desired,  may  be  enriched  with  a  border- 
ing of  velvet.  Pictures  and  mural  ornaments  of  carved 
wood  or  maiolica  in  colour  and  gilt  were  also  employed  to 
relieve  plain  wall-surfaces.  Statuary,  porcelains,  and  pottery- 
were  abundant  in  Italy. 

Tall  candelabra  of  carved  wood  or  of  wrought  iron, 
either  of  them  painted  and  gilded,  were  there  also  typical, 
as  were  carven  and  metal  candlesticks  and  sconces.  Door- 
and  window-hangings  were  often  of  great  richness  in  all 
countries,  and  bedspreads  and  bed-draperies  were  of  special 
importance. 

Deer-heads  and  other  such  trophies  were  frequent,  but 
nothing  could  well  be  less  desirable  in  small  premises  to-day. 
Plaques,  tankards,  bowls  and  pieces  of  copper  and  brass  are 
useful,  and  the  soft  gleam  of  metal  is  always  decorative. 

Objects  from  the  East  continually  found  their  way  to 
Western  Europe  and  no  period  was  without  its  high  appre- 
ciation of  them.  Oriental  rugs,  draperies,  pottery,  lacquer, 
tiles,  and  metal  ornaments  have  always  been  used  and  are 
among  our  most  valuable  decorative  assets  to-day. 

LIBERAL  PERIOD  FURNISHING 

Liberal,  or  International-Inter  period,  or  Catholic,  fur- 
nishing consists  in  the  use  of  the  furniture,  textiles,  and  ac- 
cessories of  various  nationalities  or  various  periods,  or  both, 


PLATE  118 


PLATE  119 


THE  RENAISSANCE  AND  BAROQUE  231 

in  combination.  Usually  some  one  nationality  is  chosen  as 
a  basis,  the  other  pieces  being  introduced  to  give  interest 
and  variety.  The  background  should  be  one  appropriate 
to  the  basis  chosen,  or  appropriate  to  all. 

It  will  be  evident  that  very  ornate  and  very  simple,  or 
very  heavy  and  very  light,  pieces  should  not  be  commingled. 
A  review  of  the  American  interiors  illustrated  here  will  bring 
out  other  principles  to  be  remembered. 

In  many  of  the  examples  of  Liberal  furnishing  given 
through  this  portion  of  the  volume,  it  has  been  necessary  to 
show  large  properties,  where  their  owners  or  occupants  have 
had  the  advice  of  eminent  architects  or  decorators,  or  where 
they  have  individually  given  close  study  to  the  furnishing  of 
their  homes.  The  usual  householder  has  not  availed  him- 
self of  the  opportunities  offered  to  anything  like  the  degree 
which  lies  in  his  power. 

In  the  Renaissance  dining-room  shown  in  Plate  118 
the  plain  walls  and  ornamented  ceiling  afford  an  excellent 
background.  The  table  is  Italian,  the  sideboard  English, 
and  the  chairs  in  the  farther  corner  Spanish.  Colour  is  given 
by  the  large  oriental  rug.  A  hanging  might  well  have 
been  employed  against  the  wall-surface  behind  the  side- 
board. This  is  an  exceedingly  reposeful,  harmonious  and 
dignified  interior. 

The  same  qualities  are  apparent  in  Plate  9 — a  hall  of 
faultless  arrangement  and  carefully  studied  light  and  shade. 
The  chairs  here  are  of  a  form  common  to  both  Italy  and  Spain. 

The  new  Turtle  Bay  district  of  New  York  City  has 
recently  been  described  by  the  always  alert  Good  Furniture 
Magazine,  to  which  the  writer  is  indebted  for  the  four  illus- 
trations here  shown.  The  Fifth  Avenue  neighbourhood  is 
being  abandoned  by  many  cultured  people  in  favour  of  these 
quieter  sections,  where  more  individuality  may  be  shown,  and 
an  entire  block  on  48th  and  49th  Streets  has  here  been  re- 


232         THE  SMALL  HOUSE  AND  APARTMENT 

modelled,  a  wonderful  Italian  garden  taking  the  place  of  the 
former  back  yards.  These  views  are  in  the  home  of  Mr. 
Edward  Clarence  Dean,  he  and  Mr.  William  Lawrence 
Bottomley  being  the  associated  architects  of  this  develop- 
ment. The  rough  plaster  walls  of  the  Renaissance  form  the 
background  of  this  very  cosmopolitan  furnishing.  In  Plate 
121  the  credence  is  Italian  and  the  chair  Louis  Seize.  Though 
both  periods  are  of  Classic  influence,  the  two  do  not  usually 
well  accompany  each  other  because  of  the  great  difference  in 
bulk  and  weight:  in  this  case  the  credence  is  small  and  the 
chair  large,  thus  well  equalising  matters.  The  agreeable 
composition  of  the  lantern  between  the  whorled  ends  of  the 
curtain-supports  and  in  connexion  with  the  shrine  below 
should  be  noted.  Plate  122  gives  a  good  idea  of  the  colourful 
character  of  this  decoration.  A  room  of  this  type  partakes 
largely  of  the  nature  of  a  studio:  in  usual  practice  the  Louis 
Quinze  chair  and  bombe  chest  of  drawers  would  be  too  light 
and  too  late  for  the  character  and  the  time  of  the  ornamental 
fireplace.  The  Spanish  Renaissance  and  Baroque  furniture 
in  Plate  120  is  entirely  consistent  with  its  background,  as  are 
also  the  Italian  Renaissance  chairs  in  another  portion  of  the 
room  not  visible  here.  In  Plate  123  the  furniture  is  again 
light  and  late.  The  door  and  blue-tiled  fireplace  are  excel- 
lent, and  special  attention  is  called  to  the  very  interesting 
arrangement  of  hanging-closet,  shelf  and  sewing-table  in  the 
recess  to  the  right.  It  is  this  sort  of  thing  that  shows  the 
real  individuality  in  which  the  private  householder  seems 
usually  so  deficient. 

In  Plate  119  we  see  a  comfortable,  generally  attractive 
room  in  which  styles  are  again  commingled.  The  Baroque 
fireplace-bench  and  settee  are  here  heavy  for  companionship 
with  chairs  and  tables  of  the  two  Louis.  Space  is  a  great 
harmoniser  of  differences  but  even  in  this  large  room  it  has 
not  proved  sufficient. 


PLATE  120 


PLATES  120-12? 

LIBERAL  PERIOD   FURNISHING  IN  THE  APARTMENT  OF  EDWARD   CLARENCE   DEAN, 
ARCHITECT,   TURTLE  BAY  DISTRICT,   NEW  YORK.  CITY 

By  Courtesy  of  Good  Furniture  Magazine 


THE   DINING-ROOM 
The  furniture  here  is  Spanish,  elsewhere  in  the  room  Italian 


PLATE  121 


THE  END  OF  THE  LIVING-ROOM 
Rough  plaster  walls,  polychrome  Italian  Shrine  and  Credence,  Louis  XVI  chair 


PLATE  122 


THE  MANTEL  IN  THE  LIVING-ROOM 


PLATE  123 


TILED  FIREPLACE  AND   FLOOR 

Note  the  convenient  arrangement  of  tne  alcove  to  risrht 


THE  RENAISSANCE  AND  BAROQUE  233 

As  a  general  principle,  then,  it  may  be  said  that,  not- 
withstanding their  different  inspiration,  Renaissance  and 
Baroque  pieces  usu'ally  go  well  together  because  of  their 
likeness  in  size  and  weight :  the  furniture  of  later  periods  does 
not  generally  pleasantly  accompany  these  because  of  their 
great  dissimilarity  in  these  respects  as  well  as  form. 

The  attention  of  those  desiring  very  simple  furnishing 
of  this  epoch  is  especially  directed  to  the  upper  illustration 
in  Plate  4.  It  is  to  the  last  degree  cheerful,  homelike, 
and  reposeful. 

QUALITIES  AND  ADAPTABILITY  OF  THE  STYLES 

Before  deciding  upon  the  adoption  of  the  decoration  of 
any  period,  appropriateness  should  be  considered — appro- 
priateness to  personal  characteristics  and  manner  of  life  as 
well  as  to  the  premises  to  be  furnished  and  adorned.  Each 
period  possesses  its  own  qualities,  and  it  is  unfortunate  in- 
deed when  these  disagree  with  those  of  the  occupant.  The 
decoration  of  these  movements  was  formal  and  dignified  and 
the  effect  of  spaciousness  was  always  preserved.  It  is  not 
therefore  adapted  to  really  small  rooms,  though  it  may  well 
be  employed  in  apartments  containing  few  but  fairly  large 
rooms,  or  in  remodelled  old  houses  where  there  is  usually  an 
abundance  of  space.  Nor  is  the  mode  likely  to  be  chosen  by 
easy-going,  amusement-loving  people,  or  by  those  who  with 
all  their  attainments  in  literature  and  art,  prefer  lightness 
and  grace.  It  will  delight  many  who  desire  a  scholarly  repose 
with  richness  and  dignity  of  life.  Its  general  characteristics 
may  be  observed  and  yet  (as  we  have  seen  in  Plate  4)  this 
decoration  be  rendered  exceedingly  homelike.  During  the 
later  years  of  the  Baroque  movement  greater  lightness  in 
form  and  expression  was  manifest;  so  that  William  and  Mary 
or  late  Seventeenth  century  Italian  furnishings  may  be  em- 
ployed where  the  earlier  mode  would  be  inappropriate. 


CHAPTER  III 

THE  THIRD  MOVEMENT:  ROCOCO  DECORATION 
TOGETHER  WITH  THE  DUTCH  INFLUENCE  IN 

ENGLAND 
THE  FIRST  PORTION  OF  THE  EIGHTEENTH  CENTURY 

ROCOCO  DECORATION.  THE  ADAPTABILITY  OF  THIS  FURNISHING  TO 
MODERN  USES.  THE  DUTCH  INFLUENCE  IN  ENGLAND.  EXAMPLES 
OF  FURNISHING. 

ROCOCO  DECORATION 

AS  the  Baroque  movement  was  formerly  considered  one 
x\  with  the  Renaissance,  so  have  the  Baroque  and  Rocpco 
influences  often,  wrongly,  been  confused.  Notwithstanding 
gradual  transitions,  the  characteristics  of  the  fully  evolved 
movements  are  in  each. case  most  distinct;  nor  co'uld  it  be 
otherwise,  for  the  "temper"  of  these  two  epochs  was  quite 
different. 

The  severely  Classic  qualities  of  the  Early  Renaissance 
gave  way,  through  the  increasing  magnificence  of  the  "High" 
development,  to  the  Romantic  display  of  the  Baroque.  In 
sequence,  the  still  more  Romantic  lightness,  freedom,  and 
grace  of  Rococo  decoration  take  the  place  of  the  heavy 
Baroque. 

Though,  as  we  shall  see,  the  new  movement  exerted  its 
power  in  England  to  a  certain  extent,  the  Dutch  influence 
of  Queen  Anne  (1702-1714)  naturally  dominated,  and  even 
persisted  through  Early  Georgian  times  (1714-1760).  The 
home  of  Rococo  decoration  was  France,  and  thence  it  spread 
throughout  the  Continent. 

FRANCE 

Signs  of  it  had  appeared  during  the  later  years  of  Louis 
XIV.  The  style  of  that  reigri  has  not  been  treated  here,  for 
it  is  too  ornate  for  any  purposes  we  are  considering,  though  it 

234 


PLATE  124 


RESTRAINED   ROCOCO  WALL-DECORATION 

Salon,  Hotel  Delisle-Mansart,  Paris 

From  "Les  Vieux  H6tels  de  Paris",  F.  Contct 

Courtesy  of  William  Helburn,  Inc. 


ROCOCO  DECORATION  235 

was  largely  adopted  for  American  "palatial"  hotels  till  a  few 
years  ago,  when  a  more  normal  taste  prevailed.  But  the 
services  to  art  of  Le  Grand  Monarque,  the  Roi-Soleil,  the 
King  who  might  well  say  " L'etat,  c'est  moi",  were  enormous, 
and  PVance,  now  leader  in  architecture  and  decoration,  held 
that  proud  position  till  the  debacle  of  all  mobiliary  art  in  the 
first  quarter  of  the  nineteenth  century. 

Luxury,  splendour,  a  ceremony  wearisome  to  flesh  and 
spirit,  and  a  country  ruined  by  wars  and  prodigality — such 
was  the  reign  of  the  great  king;  and  when,  at  the  end  of  a 
dominance  of  seventy-two  years,  he  went  to  his  long  home,  as 
the  writer  has  elsewhere  said,  "France  arose  and  kicked  its 
heels ! "  It  has  been  remarked  that  there  is  a  cause  for  every 
movement — this  was  the  cause  of  the  Rococo.  The  Rococo 
was  a  very  graceful,  very  refined,  and  very  free  kicking  of 
decorative  heels.  Tradition  departed  through  the  doorway, 
the  straight  line  vanished  through  the  window,  and  neither 
was  seen  again  for  fifty  years.  No  nation  other  than  France 
could  under  such  circumstances  have  kept  its  head  and  pro- 
duced so  beautiful  a  style  as  the  Rococo.  No  other  nation  did 
so  retain  its  level,  for  in  Italy,  Spain,  and  Portugal  the  mode 
ran  to  excesses,  too  often  but  much  more  rarely  seen  in 
France,  and  this  when  they  had  no  such  political  excuse. 

Of  perhaps  no  other  decoration  does  the  permanent 
background  constitute  such  an  integral  part  as  in  these 
French  styles:  it  is  necessary,  then,  to  show  a  historic  ex- 
ample of  the  simpler  manifestation  of  this  mode,  that  most 
suitable  for  modern  homes  (Plate  124).  The  writer  will  not 
say  that  the  furnishing  of  the  period  may  not  be  used  with 
refined  plain  walls,  and  indeed  it  has  been  often  done  with 
successful  results,  but  it  is  a  pity  to  be  obliged  to  denude  the 
style  of  half  its  beauty.  The  panelling  was  in  white  or  light 
tints  with  lines  of  the  mouldings  and  carving  in  strong  tones 
or  gilding.  Flock  papers,  in  imitation  of  fabrics,  appeared, 


236        THE  SMALL  HOUSE  AND  APARTMENT 

and  some  of  these  are  now  reproduced.  Chinoiserie  of  all 
kinds  was  a  craze  during  this  period. 

Plate  136  (lower  left)  shows  a  bergere  of  the  period,  and 
other  Louis  XV  furniture  is  supplied  by  the  same  manu- 
facturers and  by  other  makers.  It  is  not  particularly  fre- 
quent in  the  general  American  commercial  market  but  many 
reproductions  may  be  bought  of  decorators. 

The  style  of  this  furniture  is  so  well  known  to  those  at 
all  likely  to  employ  it  that  it  will  not  require  any  very 
detailed  description;  but  it  is  worth  saying  that  it  contains 
scarcely  a  straight  line  and  that  all  its  contours  are  free, 
flowing,  and  instinct  with  grace.  Greater  reserve  will  be 
appreciated  by  many,  and  that  we  shall  find  in  the  succeeding 
age,  but  the  restrained  forms  of  Rococo  furniture  are  very 
beautiful  and  some  of  the  simpler,  less  ornamental  contours 
persisted  into  Neo-Classic  times. 

The  Rococo  has  been  termed  a  return  to  nature.  It  was 
nearer  that  than  any  decoration  that  had  yet  appeared,  but 
there  is  always  danger  in  unqualified  expressions — they 
sound  well,  but  have  a  way  of  being  inaccurate.  If  we  com- 
pare the  art  of  Louis  Quinze  with  the  nineteenth  century 
V Art  Nouveau  we  shall  find  that  the  latter  was  one  of  the 
worst  of  failures  while  the  Rococo  was  a  brilliant  achieve- 
ment. Why?  Seeking  for  an  answer  to  the  question  shows 
us  that  UArt  Nouveau  was  almost  wholly  a  return  to  the 
forms  of  nature  and  that  the  Rococo  was  not  that:  it  was 
a  natural  ornament  superimposed  upon  a  foundation  of  art. 

Not  only  in  the  restrained  example  given,  but  in  its 
most  florid  manifestations  (such  as  the  Hotel  de  Matignon 
and  Huet's  Ape-room)  the  perpendiculars  of  panelling  were 
straight  lines  and  an  entire  sufficiency  of  horizontals  re- 
mained to  constitute  a  rectangular  basis. 

The  writer  has  traced,  from  a  photographic  illustration, 
a  Rococo  chair.  Every  line  is  a  curve:  but  pull  in  those  that 


ROCOCO  DECORATION 


237 


are  convex  and  push  out  the  concave,  to  an  equal  degree. 
The  front  and  the  back  of  this  chair  each  have  as  their  bases 
three  sides  of  a  perfectly  measured  rectangle,  the  fourth  sides 
being  the  arch  of  the  seat  repeated  in  the  arch  of  the  back. 
A  Rococo  curvilinear  chair  with  an  absolutely  Classic  foun- 
dation! Does  no  one  see  these  things!  Because  the  morals 
of  the  age  were  of  the  loosest,  art  must  be  wholly  decadent 
too!  Strange  reasoning,  when  pagan,  unmoral  Greece  gave 
the  world  the  greatest  architecture  it  has  known. 


Diagram  7. — The  Classic  Foun- 
dation-lines of  a  Rococo  chair 

The  tables  were  often,  and  the  cabinets,  commodes,  and 
desks  almost  always,  of  marqueterie,  or  inlay,  or  Vernis- 
Martin,  with  the  characteristic  chiselled  metal  mounts: 
naturally  even  reproductions  of  such  furniture  are  costly  and  a 
houseful  of  it  requires  a  full  pocket-book.  Those  desiring  to 
furnish  in  this  manner  and  able  to  do  so  will  find  both  deco- 
ration and  furniture  treated  and  illustrated  in  Parts  I  and 
III  of  "The  Practical  Book  of  Interior  Decoration."  For  a 
woman's  smart  apartment  this  mode  is  of  great  appropriate- 
ness. Others  appreciating  the  decorative  interest  and  beauty 
of  the  style  may  purchase  a  few  chairs  or  small  pieces,  using 
them  with  pieces  in  Chippendale's  French  vein  or  with 


238         THE  SMALL  HOUSE  AND  APARTMENT 

eighteenth  century  furniture  of  the  later  influence  as  will  be 
described  in  the  next  section. 

The  graceful  seating-furniture  of  the  period  was  usually 
of  natural  walnut,  though  other  materials  were  used  and 
then  painted  and  parcel  gilt.  Pieces  entirely  gilt  are  too 
pretentious  for  our  purpose,  but  possibly  one  or  two  small 
gilt  chairs  might  accompany  other  handsome  furniture. 
The  painting  was  sometimes  very  bright  and  sometimes  in 
tints  or  medium  tones,  but  in  a  modern  example  recently 
seen  the  dark  greenish  slate  of  the  background  was  effectively 
relieved  by  the  Rococo  scrolled  ornament  in  gold.  There  is 
a  Trouville  print,  with  Rococo  cartouche  of  black  on  white 
with  pale  rose  and  green,  that  would  admirably  accompany 
furniture  so  painted. 

For  the  first  time  in  decorative  history  the  colouring 
employed  was  light  and  was  also  bright.  The  point  of  view 
had  been  transformed,  and  furnishing  changed  with  it.  The 
huge  salon  and  state  bed-chamber  gave  way  to  the  drawing- 
room,  cabinet  and  boudoir:  the  tedious  formality  of  Louis 
Quatorze  (1643-1715)  became  the  social  life  and  luxurious 
ease  of  Louis  Quinze  (1715-1774):  the  full-bodied  hues 
appropriate  to  previous  robust  conditions  were  superseded 
by  the  lovely  hues  properly  accompanying  a  civilisation  of 
great  refinement.  This  colouring  was  far  from  quiet  and 
there  was  much  of  it,  but  it  was  the  colouring  of  the  aster  and 
the  rose  rather  than  of  the  dahlia  and  the  tulip. 

Appropriate  design  and  texture  naturally  marched  with 
colour — needlework,  silks,  damasks,  and  brocades  in  a 
multitude  of  charming  patterns  were  used  for  coverings. 
Velvets  were  often  plain.  Soft  crimson  or  deep  rose  remained 
for  a  long  time  among  the  staple  hues  for  hangings.  Clocks, 
candlesticks,  and  all  other  accessories  were  of  like  beauty 
of  material  and  design.  The  most  loving  care  was  lavished 
upon  small  articles  of  every  description. 


ROCOCO  DECORATION  239 

ENGLAND 

We  might  be  sure  that  if  the  Rococo  spirit  were  to  find 
manifestation  in  Britain  it  would  be  at  the  hand  of  Thomas 
Chippendale — not  only  because  of  his  enterprise  and  his 
ability  in  adapting  motifs  from  any  source  to  his  own  design, 
but  because  love  of  the  flowing  line  and  rich  carving  was 
intrinsically  a  part  of  his  genius  (see  mirror  and  chair  in 
Plate  126).  There  were  others  who  attempted  the  mode,  but 
Thomas  Chippendale  remains  the  British  exponent  of  the 
Rococo.  There  are,  of  course,  purists  who  denounce  the 
fancifulness,  the  fantasticality  of  his  rock-shell  mirrors  and 
ribband-back  chairs:  the  writer  has  no  hesitation  in  admit- 
ting his  general  preference  for  Neo-Classic  design  over  that 
of  the  Rococo,  but  surely  we  should  all  be  broad-minded 
enough  to  relish  the  exuberant  upon  occasion,  and  be  able 
to  recognize  great  design  whatever  its  motif.  This  furniture, 
naturally,  well  accompanies  that  of  Louis  Quinze  in  Liberal 
furnishing. 

ITALY 

This  southern  peninsula  had  now  fallen  upon  evil  days, 
being  partitioned  and  disposed  according  to  the  wishes  of 
alien  powers.  Poverty  was  rampant,  initiative  had  failed, 
and  its  furniture-forms  were  mostly  adopted  from  those  of 
other  nations.  But  its  inate  genius  for  art  succeeded  in 
displaying  a  very  considerable  degree  of  individuality  in  de- 
tail and  ornament — the  Venetian  painted  and  decorated 
forms  of  this  and  the  succeeding  age  are  especially  famous. 
In  this  furniture  material  and  workmanship  were  often 
cheap,  but  the  result  was  artistic.  Original  pieces  are  illus- 
trated in  "The  Practical  Book  of  Interior  Decoration",  and 
some  furniture  of  the  period  is  now  reproduced  and  sold  by 
the  decorating  trade. 

While  among  antiques  we  sometimes  meet  with  such 
extravagances  as  bombe  commodes  of  bursting  proportions 


24o        THE  SMALL  HOUSE  AND  APARTMENT 

and  unbridled  ornament,  for  the  most  part  these  pieces  are 
of  great  charm  and  decorative  quality.  The  painted  ground 
is  in  light  tones  with  vari-coloured  decorations,  among  which 
some  gilding  is  frequent.  Natural  woods  were  of  course 
also  used. 

The  employment  of  occasional  pieces  will  be  mentioned 
in  the  next  section,  on  Neo-Classic  furniture. 

THE  ADAPTABILITY  OF  THIS  FURNISHING  TO 
MODERN  USES 

The  style  is  intrinsically  French;  and  it  is  not  likely, 
therefore,  to  be  adopted  for  a  whole  scheme  of  furnishing  by 
those  who  are  characteristically  British  or  by  Americans  of 
"  practical "  temperament.  On  the  other  hand,  the  procedure, 
still  current,  either  of  decorating  the  various  rooms  of  an 
abode  in  divers  manners,  or  of  filling  a  house  with  English 
styles  except  for  the  drawing-room  in  French  mode,  must 
strongly  be  deprecated.  This  is  not  Liberal  furnishing;  it  is 
furnishing  without  reason.  The  home  is  an  entity,  and  to 
destroy  its  unity  by  such  procedure  is  not  only  illogical  in 
principle  but  unfortunate  in  result. 

There  are  those  of  every  nation  possessing  tempera- 
ments sufficiently  akin  to  the  style  to  make  it  their  choice 
and  to  find  in  it  the  greatest  pleasure:  others,  appreciative 
of  its  beauty  but  finding  other  modes  more  generally  suitable 
to  their  needs,  may  avail  themselves  of  occasional  pieces  for 
the  giving  of  relief  and  interest. 

THE  DUTCH  INFLUENCE  IN  ENGLAND 

There  is  but  one  point  of  likeness,  occurring  to  the 
writer,  between  the  furniture  of  France  and  that  generally 
current  in  England  during  the  first  half  of  the  eighteenth 
century — the  universal  use  of  the  cabriole  (serpentine)  leg. 
As  against  the  refined  elegance  of  the  Continental  furniture 


PLATE  125 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Mich. 
QUEEN  ANNE  ARCHED  BACK  CHAIR.     Width  18  in.,  Height  43  in. 
QUEEN  ANNE  DROP-LEAF  TEA  TABLE.     Height  JO  in..  Top  30  x  30  in. 

MODERN  STOOL,   DUTCH  STYLE.     Height  18  in..  Top  22  x  17  in. 
MODERN  UPHOLSTERED  WINDSOR  CHAIR,   DUTCH   STYLE.      46%  x  24%  in. 

MODERN  CH4ISE  LONGUE  OR  READING-COUCH.   DUTCH  STYLE 
Height  35  in..  Length  53  in. 

MODERN  READING-TABLE,  DUTCH  STYLE.     Height   28%  in..  Top  14%  x  38  in. 
All  in  Walnut 


THE  DUTCH  INFLUENCE  IN  ENGLAND         241 

we  have  been  considering,  we  for  the  most  part  find  in 
Britain  the  quiet,  homelike  forms  of  Queen  Anne  and  the 
early  Georges  combining  Dutch  with  Spanish  and  Portu- 
guese influences.  Exceptions  are,  of  course,  the  decorated 
furniture  of  the  years  between  1714  and  1745,  usually  large, 
heavy,  ornate,  and  often  gilded,  and  the  likewise  almost 
always  cumbrous  pieces  of  William  Kent.  It  is  not  these 
qualities  only  which  prevent  this  furniture  from  being  of  much 
interest  to  us  in  the  furnishing  of  small  premises,  but  the 
fact  that  they  are  not  made  in  American  commercial  furni- 
ture. Some  attractive  reproductions  of  medium-sized  pieces, 
especially  with  the  cabochon  knee,  may  be  found  among  deco- 
rators' furniture,  and  these  are  more  frequent  in  England. 

For  the  most  part,  then,  we  have  only  to  consider 
these  homelike  contours  and  their  derivations  developed  by 
Chippendale,  and  these  form  a  group  rather  apart  from 
other  styles.  They  are  still  Baroque,  but  differ  too  greatly  in 
contour  from  the  also  Baroque  and  also  Dutch  straight- 
legged  pieces  of  William  and  Mary  properly  to  accompany 
them,  and  they  are  too  simple  to  be  employed  with  the  ornate 
forms  of  that  reign.  On  the  other  hand  the  succeeding  age 
was  of  totally  unlike  inspiration.  Other  furniture  which 
might  be  used  with  this  is  the  Dutch,  some  sufficiently 
simple  curved-leg  William  and  Mary  pieces,  and  certain 
cognate  forms  of  Southern  Europe  (see  the  chairs  in  upper 
dining-room,  Plate  140).  As  neither  the  first  nor  the  last 
is  very  generally  obtainable,  it  follows  that  this  simple 
Queen  Anne  and  Chippendale  claw-and-ball  foot  furniture 
(Plate  129)  must  usually  be  employed  alone.  It  is,  however, 
sufficient  unto  the  purpose,  and  small  premises  thus  furnished 
will  have  much  "homelike"  quality.  Lacquered  furniture 
was  a  great  favourite  during  this  period  and  its  use  will  add 
variety:  the  designs  of  textiles  were  of  moderate  size  and 
the  colourings  good :  pottery  and  china-ware  were  attractive, 

16 


242         THE  SMALL  HOUSE  AND  APARTMENT 

and  "blue  and  white"  is  especially  appropriate.  Chinoiserie 
was  here  rampant,  as  in  France. 

Walnut  was  the  staple  wood  of  the  period  till  about  1720 
when  mahogany  began  to  come  into  general  use. 

This  style  is  a  favourite  with  the  manufacturers  of 
commercial  furniture  and  there  is  much  of  it  upon  the  mar- 
ket: care  should,  however,  be  exercised  to  secure  faithful 
reproductions.  An  excellent  wing-chair  with  appropriate 
covering  is  shown  on  Plate  112.  At  the  top  of  Plate  125  is 
illustrated  a  charming  arched-back  side-chair,  also  with  a 
well  selected  textile,  and  an  attractive  tea-table.  The  other 
simple  pieces  of  Dutch  origin  on  this  plate  may  be  used  to 
advantage  in  this  furnishing. 

Large  panelling  (Plate  129)  was  the  accepted  back- 
ground during  this  as  well  as  the  previous  period.  Those 
adopting  it  will  find  full  particulars  in  "The  Practical  Book 
of  Interior  Decoration",  and  these  should  be  consulted  so 
that  the  suggestions  of  the  decorator  may  be  understood  and 
appreciated.  Both  natural  and  painted  woods  were  used, 
and  gilding  was  frequently  applied  to  painted  mouldings 
and  carvings.  Not  only  white  (as  commonly  supposed)  was 
employed,  but  such  tones  as  grey,  grey-green,  buff,  brown, 
pale  yellow,  blue,  green,  and  green-blue,  and  it  will  be  seen 
that  especially  with  gilding  these  were  of  great  beauty. 

If  plain  walls  are  a  necessity,  white  or  any  of  these  tones 
may  be  adopted  for  either  paint,  plaster,  or  wall-paper,  and 
naturally,  in  any  case,  the  surface  should  be  smooth  and 
refined.  Simple  panelling  may  be  provided  at  moderate  cost 
by  the  use  of  applied  mouldings. 

EXAMPLES  OF  FURNISHING 

The  living-room  in  an  apartment  in  Park  Avenue,  New 
York,  by  Mr.  William  Lawrence  Bottomley  (Plate  126)  is  a 
rich,  comfortable,  and  homelike  interior  deserving  of  special 


PLATE  126 


PLATE  127 


THE  DUTCH  INFLUENCE  IN  ENGLAND         243 

attention.  It  contains  elements  from  about  1660  to  1760. 
Fabric-covered  walls  were  frequently  used  during  all  this 
time,  and  striped  draperies  made  their  appearance  in  France 
during  the  reign  of  Louis  Quinze — earlier  than  most  suppose. 
The  tables  at  each  side  of  the  doorway  are  of  the  former  date, 
the  remaining  furniture  of  the  latter,  and  caution  must  be  em- 
ployed in  combining  the  two  forms.  That  caution  has  been 
used,  and  the  tables  are  not  of  undue  weight  for  the  other 
pieces.  A  Rococo  mirror  above  a  Restoration  table  sounds 
very  daring  indeed,  but  in  this  case  it  will  be  noted  that  the 
mirror  is' generally  rectangular  with  arched,  broken-pediment 
top,  and  that  the  two  well  conjoin.  The  arm  chair  is  also 
in  Chippendale's  French  vein.  Apparently  alien  elements 
may  therefore  afford  a  very  happy  result  at  the  hands  of 
one  of  such  discrimination  and  taste  as  Mr.  Bottomley. 

A  modern  use  of  early  eighteenth  century  bedroom  fur- 
niture appears  in  Plate  127.  The  draperies  are  red  and  the 
wall  paper  above  the  wainscot  of  red  and  blue  pattern.  A 
less  insistent  design  in  the  latter  would  have  been  preferable. 


CHAPTER  IV 

THE  FOURTH  AND  FINAL  MOVEMENT: 
THE  NEO-CLASSIC  INFLUENCE 

THE  LATTER  PORTION  OF  THE  EIGHTEENTH  CENTURY 
AND  THE  EARLY  NINETEENTH  CENTURY 

THE  CAUSE  OF  THE  NEW  MOVEMENT.  NEO-CLASSIC  FURNISHING  IN 
ENGLAND,  FRANCE,  ITALY,  AND  AMERICA.  LIBERAL  FURNISHING. 
THE  CHARACTERISTICS  AND  ADAPTABILITY  OF  THE  STYLE. 

THE  CAUSE  OF  THE  NEW  MOVEMENT 

HUMANITY  loves  variety.  It  may  not  weary  of  accus- 
tomed beauty  but  eventually  it  desires  a  change.  The 
Romantic  impulse  as  embodied  in  the  Baroque  and  Rococo 
movements  had  endured  for  practically  two  centuries,  had, 
for  the  time-being  at  least,  exhausted  its  resources — and  the 
world  was  ready  for  something  new. 

Humanity  is  also  exceedingly  curious,  and  the  exhu- 
mations at  Herculaneum  and  Pompeii  excited  the  widest 
interest.  Nowadays  anything  attracting  like  attention  would 
be  in  the  "movies"  within  a  couple  of  weeks  and  on  the 
picture  post-cards  the  week  after  that:  the  public  would 
be  done  with  the  sensation  in  a  month  and  no  lasting  effect 
would  have  been  made  upon  it.  But  in  the  eighteenth  cen- 
tury these  explorations  into  the  past  stimulated  the  publi- 
cation of  elaborate  volumes,  learned  discussions,  and  personal 
investigations  over  a  number  of  years  and  gave  rise  to  a 
development  affecting  all  Europe.  For  these  remains  were 
Classic,  and  now  Classicism  filled  the  air. 

But,  furthermore,  it  was  also  discovered  that  Classicism 
was  much  more  than  the  masters  of  the  Renaissance  had 
taken  it  to  be.  They  had  extracted  from  it  their  inspiration 
in  its  heavier,  more  formal  aspects,  but  the  eighteenth  cen- 
tury perceived  that  it  also  possessed  a  more  human  side 
than  this,  and  that  from  its  example  might  likewise  be  drawn 

244 


THE  NEO-CLASSIC  INFLUENCE  245 

a  lighter  mode  of  very  great  charm.  Contrast  the  tremen- 
dous impressiveness  of  the  great  temple  at  Paestum  with  the 
slender  white  wooden  pillars  of  an  American  Classic-Revival 
house  and  the  extremes  of  which  Classicism  is  capable  will 
be  realised. 

Given  the  inspiration  of  an  idea  so  entirely  novel  and 
stimulating,  designers  and  craftsmen  of  the  highest  ability, 
a  basis  of  straight-forward,  satisfying,  and  solid  form,  with 
which  lightness,  grace,  ease,  and  beauty  are  for  the  first  time 
perceived  to  be  entirely  compatible, — and  it  is  easily  seen 
that,  with  a  combination  of  elements  never  before  existing, 
we  shall  now  get,  not  perhaps  the  most  virile  and  robust, 
but  the  most  delightful  furnishing  the  world  has  known. 

The  impulse  was  practically  simultaneous  in  France  and 
England,  Southern  Europe  following  in  their  train. 

ENGLAND 

THE  BROTHERS  ADAM 

Those  eminent  men  Robert  and  James  Adam,  after 
extensive  travel  in  Southern  Europe  and  personal  study  of 
tl^e  monuments  of  antiquity  there  to  be  found,  established 
themselves  with  their  two  brothers  as  architects  in  London, 
calling  themselves  by  the  Greek  word  for  brothers,  the 
"Adelphi".  They  were  of  high  social  position;  Robert  was 
a  member  of  Parliament,  and  he  and  Sir  Robert  Chambers 
were,  in  1761,  appointed  the  King's  architects.  Robert  was 
the  genius  of  the  family  but  James  also  was  an  able  man 

They  were  never  constructors  of  furniture,  but  the 
artistic  conscience  of  Robert  would  not  rest  satisfied  with  the 
designing  and  erection  of  beautiful  buildings  without  also 
desiring  to  carry  out  their  effect  through  all  their  appur- 
tenances— hence  he  became  one  of  the  foremost  designers 
of  furniture. 

His  wall-surfaces  were  to  England  a  new  thing  under  the 


246         THE  SMALL  HOUSE  AND  APARTMENT 

sun.  The  panelling  which  had  there  held  sway  since  the 
beginnings  of  domestic  architecture  were  by  him  discarded  in 
favour  of  other  modes.  That  most  closely  associated  with 
his  name  was  of  plaster  or  stucco  with  panels  of  arabesque 
ornament  often  in  colour,  or  ornamental  panels  contain- 
ing frescoes,  these  frequently  being  executed  by  Italian 
artists.  The  ceilings,  often  coved  or  domed,  were  elaborately 
ornamented,  even  if  the  waUs  remained  plain.  Wedgwood 
plaques  and  panels  of  Classic  design  inserted  in  the  walls, 
or  niches  with  statues  were  likewise  characteristic.  He  also 
employed  walls  hung  with  handsome  damasks.  Mantels  and 
mirrors  were  among  his  most  beautiful  achievements.  Doors 
were  often  of  panelled  mahogany. 

Such  interiors  were  elaborate,  but  Mr.  Wilson  Eyre, 
the  eminent  Philadelphia  architect,  has  been  very  successful 
in  his  renderings  of  the  style  in  houses  of  moderate  dimen- 
sions. A  fine  plain-walled  interior  with  ornamental  cornice 
and  ceiling  and  overdoor  decorations  is  shown  in  Plate  128. 
This  is  by  Messrs.  Mellor  and  Meigs,  also  of  Philadelphia. 

Though  the  influence  of  the  Adelphi  upon  the  architects 
was  far-reaching  some  panelled  walls  (Plate  129)  doubtless 
persisted,  and  this  background  may  be  used  for  Neo-Classic 
furnishing,  especially  where  other  cognate  forms  are  em- 
ployed in  conjunction  with  Adam  furniture  or  alone. 

Later  there  occurred  in  the  treatment  of  walls  a  gradual 
drying  up  of  the  fresh  inspiration  given  by  the  Adams,  till 
plain  plaster  walls,  relieved  only  by  occasional  niches,  heavy 
plaster  cornices  and  ceilings,  and  rather  pompous  woodwork, 
prepared  the  way  for  the  so  familiar  dreary  interiors  of 
Victorian  times. 

Probably  the  most  wonderful  furniture  ever  made  in 
England  is  that  at  Harewood  House  and  Nostel  Priory, 
designed  by  Robert  Adam  and  executed  by  Thomas 
Chippendale,  together  with  the  handsomest  pieces  designed 


PLATE  128 


PLATE  129 


Thomas.  Churchill  A  Mollitor,  Architects 

PANELLED  WALLS  WITH  CHIPPENDALE  CHAIRS  AND  TABLE  AND 
SHERATON   CONSOLE  TABLE 


PLATE  130 


C.  E.  Schermerhorn,  Architect 
A  HALL  WITH   CHINESE  CHIPPENDALE  LACQUERED  FURNITURE 


PLATE  131 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids,  Michigan 
CHIPPENDALE  ARM   CHAIR.     Width  27  in  ,  Height  36  in. 
CHIPPENDALE  LADDER-BACK  ARM  CHAIR.     Height  40  in..  Width  24  in. 
The  Side  chair  is  Reproduced  from  an  Original  at  Plymouth,  Mass. 

SHERATON  ARM  CHAIR.     Height  33^  in..  Width  25  in. 

Reproduced  from  the  Collection  of  A.  T.  Pope,  Hillstead,  Farmington,  Cona 

HEPPLEWHITE  ARM   CHAIR   "IN  THE  FRENCH  TASTE" 

Height  34  in.,  Width  27  in. 


THE  NEO-CLASSIC  INFLUENCE  247 

by  Chippendale  himself.     The  invoices  of  the  former  are 
still  preserved. 

The  furniture  devised  by  Adam  for  great  manor-houses 
was  naturally  more  elaborate  than  that  for  simpler  premises? 
but  nearly  all  of  it  was  marked  by  chastity  of  design.  The 
style  is  fully  illustrated  in  "The  Practical  Book  of  Period 
Furniture."  His  seating-furniture  often  closely  resembled 
the  forms  of  Louis  XVI.  The  Adam  vogue  included  not  only 
mahogany  and  satinwood  but  also  beautifully  designed 
painted  pieces.  Pale  green  was  a  favourite  ground,  with 
vari-coloured  ornament.  A  considerable  quantity  of  Adam 
furniture  is  supplied  by  commercial  manufacturers  and 
other  pieces  may  be  purchased  from  decorators. 

THOMAS  CHIPPENDALE 

Those  who  wonder  at  the  slight  knowledge  we  possess 
of  the  personality  of  William  Shakespeare  may  well  consider 
the  case  of  Thomas  Chippendale,  busily  engaged  in  his 
shop  in  St.  Martin's  Lane,  London,  but  a  hundred  and  fifty 
years  ago. 

The  name  of  Chippendale  is  a  household  word — the 
only  name  known  to  many  who  have  but  slight  knowledge  of 
furniture.  He  was,  indeed,  the  first  man  whose  name  was 
popularly  connected  with  what  he  designed — previously  the 
product  was  known  only  by  the  name  of  the  sovereign  under 
whose  reign  it  was  made.  From  thenceforth  due  credit 
was  given  its  creator. 

Chippendale  published  editions  of  "The  Gentleman  and 
Cabinet-Maker's  Director"  in  1754,  1759,  and  1762,  and  was 
the  most  noted  furniture  designer  of  his  age.  It  is  probable 
that  the  entry,  in  the  burial  register  of  the  church  of  St. 
Martin's-in-the-Fields,  of  the  death  of  a  Thomas  Chippendale 
in  1779  refers  to  him:  we  are  not  certain  when  he  was  born 
— probably  about  1717:  of  his  personality  we  know  nothing, 


248         THE  SMALL  HOUSE  AND  APARTMENT 

and  of  his  intellectuality  only  what  is  evident  through  his 
book  and  his  work.  Most  of  the  data  usually  given  regard- 
ing him  is  uncertain. 

Platitudes  are  in  order  for  those  who  care  to  utter  them 
regarding  the  amount  of  personal  knowledge  remaining  of 
England's  greatest  poet  and  its  most  various  and  perhaps 
also  greatest  designer  of  furniture.  Yet  the  work  of  both 
endures — and  is  frequently  ascribed  to  others. 

Mr.  Herbert  Cescinsky  in  an  article  published  in  the 
London  Connoisseur  of  May,  1921,  is  inclined  to  term  all 
furniture  commonly  called  by  the  name  of  this  designer  but 
made  previous  to  the  first  edition  of  "The  Director"  (1754) 
or  at  least  before  1750,  as  pre-Chippendale.  The  knowledge 
of  this  able  writer  in  all  connected  with  eighteenth  century 
English  furniture  is  unsurpassed  and  must  be  regarded  with 
the  greatest  respect.  It  is  to  be  hoped  that  further  data  may 
eventually  be  forth-coming,  for  though  in  a  sense  the  matter 
is  "academic",  it  nevertheless  is  of  great  interest. 

Mr.  Cescinsky  does  not  there,  expressly  mention 
Thomas  Chippendale  the  elder  and  the  tradition  that  he  was 
in  the  business  either  before  or  with  his  famous  son.  There 
does  not  seem  previously  to  have  been  any  question  regard- 
ing the  establishment  of  the  business  much  earlier  than  1750; 
and  the  issue  of  "The  Director"  itself  would  rather  bear  out 
the  common  report.  The  designing  of  such  a  body  of  furni- 
ture as  is  there  exhibited  and  in  so  many  veins,  even  if  he 
were  somewhat  aided  by  others,  and  the  slow  processes  of 
engraving  then  current,  must  have  required  a  very  con- 
siderable length  of  time;  while  the  extensive  list  of  cab- 
inet-making and  other  subscribers  could  hardly  have  been 
secured  except  by  a  widely-known  and  successful  firm. 

If  designers  of  such  marked  ability  as  the  Chippendales 
were  at  work  during  these  earlier  years,  two  questions  then 
naturally  present  themselves;  What  were  they  doing?  and 


THE  NEO-CLASSIC  INFLUENCE  249 

who  made  the  furniture  of  that  time  commonly  credited 
to  Chippendale?  Mr.  Cescinsky  is  careful  to  state  that 
"The  Director"  designs  (alone)  are  no  reliable  criteria  of 
Chippendale's  work,  because  in  that  book  he  desired  to 
show  new  styles  rather  than  old,  he  mentions  that  we  know 
Chippendale  used  the  ball-and-claw  foot,  and  describes  and 
illustrates  the  interlaced  back-splats  and  the  contours  of  the 
backs  themselves  (Plate  129).  These  developments  from  the 
previous  style  have  always  been  ascribed  to  "Chippendale" 
—whether  father  or  son.  They  were  made  by  someone,  and 
that  one  of  undoubted  talent.  No  other  name  than  that 
of  Chippendale  has  yet  definitely  been  put  forward,  but,  if 
we  remember  the  precedent  in  the  case  of  Shakespeare,  we 
shall  doubtless  be  treated,  from  other  sources,  to  a  dozen, 
mostly  absurd,  suggestions.  For  the  present,  then,  we  may 
still  speak  of  this  furniture — more  popularly  known  as 
Chippendale  than  perhaps  any  other — by  that  term,  and  the 
present  writer  hopes  that  if  the  claim  be  just  it  may  be  estab- 
lished, rather  than  that  this  name  be  deprived  of  a  portion 
of  its  wonted  glory. 

Though  Chippendale  was  not  in  general  a  Neo-Classicist, 
to  him  must  be  ascribed  the  introduction  of  the  straight  leg, 
and  of  the  contour  employed  by  Adam  thirteen  to  fifteen 
years  later.  These  appear  in  the  first  issue  of  "The  Director" 
in  the  same  year  (1754)  that  Robert  Adam,  then  twenty- 
six  years  of  age,  was  leaving  Edinburgh,  where  he  had 
worked  with  his  father,  for  his  long  tour  of  the  Continent. 
Chippendale's  large  book-cases  possess  great  dignity  of  a 
Classic  nature  and  some  of  his  plain  pieces  have  the  same 
quality  (Plates  97  and  128,  right)  but  for  the  most  part  his 
forte  lay  elsewhere.  His  Rococo  work  has  already  been 
mentioned,  and  reproductions  of  chairs  in  this  vein  will  well 
accompany  and  relieve  the  French  pieces  of  Louis  Quinze. 
A  chair  of  French  style  appears  in  Plate  126. 


250         THE  SMALL  HOUSE  AND  APARTMENT 

The  best  designs  in  his  Chinese  taste  bid  fair  to  remain 
among  his  most  permanent  productions — modern  examples 
of  these  occur  in  Plate  130.  Some  of  his  pagoda-like  con- 
structions are  undoubtedly  of  the  greatest  exuberance  but 
are  interesting,  and  where  this  tendency  is  curbed  these 
designs  would  be  most  desirable  if  reproductions  could 
readily  be  secured.  With  the  chairs  containing  backs  of 
strips  disposed  diagonally  the  present  writer  has  no  patience 
because  these  are  totally  at  variance  with  the  lines  of  the  piece : 
these  and  some  of  the  so-called  Gothic  chairs  seem  the  worst 
of  Chippendale's  immensely  varied  work.  The  clustered 
legs  sometimes  used  by  him  are  charming  and  are  much 
stronger  than  they  appear. 

His  Queen  Anne  developments  best  accompany  the  pieces 
of  that  period,  but  are  frequently  seen  with  Neo-Classic 
furniture  (Plate  129).  Notwithstanding  their  Eastern  in- 
fluence, the  more  dignified  straight-and-fretted-legged  tables 
and  chairs  in  Chinese  taste  may  suitably  be  used  in  the  like 
environment. 

Chippendale's  styles  were  widely  copied  by  other  cabinet- 
makers in  Great  Britain,  and,  as  we  shall  later  see,  enjoyed 
a  similar  vogue  in  America. 

In  London  the  business  was  continued  by  his  son,  like- 
wise named  Thomas  through  the  habit  of  bestowing  an 
identical  Christian  name  upon  those  of  successive  gener- 
ations— a  custom  accursed  of  all  who  have  attempted 
genealogical  or  other  research.  Thomas  Chippendale,  3d, 
died  in  1822. 

GEORGE  HEPPLEWHITE 

The  next  outstanding  name  among  the  great  designers 
of  this  prolific  period  is  that  of  Hepplewhite.  We  are 
ignorant,  likewise,  of  the  date  of  his  birth,  but  he  died  in  1786; 
the  business  being  then  carried  on  by  his  widow  Alice.  As  in 
the  case  of  Chippendale,  his  name  is  given  to  much  furniture 


PLATE  132 


Manufactured  by  Century  Furniture  Co., 
Grand  Rapids,  Mich. 

HEPPLEWHITE  INTERLACED-HEART  BACK 
ARM  CHAIR,   MAHOGANY 

Covered  with  Small  Figured  Tapestry 


Manufactured  by  Imperial  Furniture  Co.,  Grand  Rapids,  Mich. 
MAHOGANY  CONSOLE-TABLE  OF  NEO-CLASSIC  DESIGN 
Top  26  x  14  inches 


PLATE  133 


Manufactured  by  The  Elgin  A.  Simonds  Co.,  Syracuse,  N.  Y. 
NEO-CLASSIC  MAHOGANY  CONSOLE  AND  MIRROR 
Console,  Height  32  in.,  Top  42  x  17  in. 
Mirror,  42  x  24  in. 


THE  NEO-CLASSIC  INFLUENCE  251 

made  after  his  designs  but  not  executed  by  him;  the  name 
therefore  represents  a  style  rather  than  a  personal  product. 

This  style  (or  preferably,  these  styles)  shows  a  combi- 
nation of  the  Classic  influence  of  Adam,  the  more  restrained 
forms  of  Louis  XV  and  those  of  Louis  XVI,  and,  withal, 
he  evidences  an  abundant  originality  of  his  own.  Those 
who  ignore  tradition  and  precedent  and  would  invent  a  new 
thing  under  the  sun,  are  invited  to  study  the  whole  field 
of  furniture  design — for  by  no  means  are  Chippendale  and 
Hepplewhite  isolated  examples  of  a  wide  use  of  "  sources  ". 

Most  valuable  contributions  to  mobiliary  beauty  were 
the  shield-shaped  and  interlaced-heart  designs  of  chair  backs. 
A  close  reproduction  of  the  latter  form  is  shown  in  Plate  132.. 
The  disposal  of  the  arms  in  these  chairs  (see  also  Plate  97) 
renders  them  very  convenient  in  drawing  close  to  a  table. 
They  illustrate  some  of  his  prominent  characteristics — a 
genuine  English  roominess  and  comfort,  combined  with 
grace  and  sufficient  but  not  excessive  lightness  of  design; 
his  very  free  use  of  curves,  while  still  contriving,  through  the 
use  of  straight  legs  and  general  chastity  of  form,  to  preserve 
a  fundamentally  Classic  appearance  and  a  refinement  that 
especially  appeals  to  persons  of  cultivated  taste.  There  exists, 
it  is  true,  one  structural  weakness  in  these  chairs — the  backs 
do  not  join  the  seat-rail,  and  they  thus  depend  for  their 
support  entirely  upon  the  uprights :  with  pieces  of  the  weight 
of  those  illustrated  they  prove  themselves,  however,  suf- 
ficiently strong.  He  also  designed  oval,  hoop,  and  honey- 
suckle backed  chairs,  all  of  which  are  charming. 

Between  some  few  of  his  chairs  and  settees  and  those 
of  Sheraton  the  general  reader  will  find  difficulty  in  dis- 
tinguishing; the  truth  being  that  both  helped  themselves 
liberally  to  the  inspiration  if  not  the  actual  forms  of  contem- 
porary Louis  XVI  furniture.  The  main  difference  between 
the  two  is  that  Hepplewhite  pieces  are  noticeably  curvi- 


252         THE  SMALL  HOUSE  AND  APARTMENT 

linear,  while  Sheraton's  tendency  was  rigidly  in  the  direction 
of  the  straight  line.  How  carefully  Hepplewhite  could  upon 
occasion  follow  the  mode  of  Louis  XV,  also,  is  seen  in  Plate 
131,  lower  right. 

The  sideboards  of  these  times  are  very  interesting. 
Though  modern  furniture-makers  have  needlessly  attempted 
to  help  out  Thomas  Chippendale,  he  never  made  a  sideboard. 
He  made  side-tables,  and  these  should  be  used  with  his  dining- 
room  furniture,  storage-facilities  for  linen  and  table-ware 
being  provided  elsewhere.  If  anyone  is  unable  to  live  with- 
out a  sideboard,  let  it  be  one  of  the  other  designs  of  this  time 
or  a  good  specimen  of  American  Empire  style,  rather  than  a 
mongrel  production.  Shearer  was  successful  with  this  article 
of  furniture  and  was  duly  followed  both  by  Hepplewhite 
and  Sheraton.  The  distinction  here  is  that  Hepplewhite's 
fronts  were  serpentine  or  concave,  while  Sheraton's 
were  flat  or  convex  (Plate  135).  Both  used  square  legs  and 
round  legs,  but  Hepplewhite's  favourite  form  was  the  first 
mentioned,  tapered  and  with  spade  feet  as  in  the  chairs 
mentioned.  His  sofas,  tables,  and  cabinet-pieces  are  very 
attractive.  He  availed  himself  of  most  of  the  decorative 
processes,  including  inlay,  but  preferred  painting  to  this 
mode,  and  his  more  ornamental  cabinet-work  was  fre- 
quently adorned  with  charming  panels  by  Angelica 
Kauffmann  and  others  of  this  school.  Light  mahogany  and 
satinwood  were  much  used  for  the  graceful  pieces  by 
Adam,  Hepplewhite  and  Sheraton,  and  are  particularly 
appropriate.  It  may  as  well  be  said  that  the  fine  forms  of 
furniture  of  all  three  designers  were  provided  for  gentlefolk 
and  were  not  intended  for  yokel-like  lounging. 

THOMAS  SHERATON 

The  contrariety  of  human  nature  could  scarcely  be 
better  illustrated  than  in  the  personality  of  Thomas  Sheraton. 


PLATE  134 


PLATE  135 


A  CLEVERLY-FURNISHED  DINING-ROOM   IN  A  SMALL  APARTMENT 
Sideboard  and  table  Sheraton 


THE  NEO-CLASSIC  INFLUENCE  253 

Baptist  preacher,  tractarian,  publisher,  and  teacher  of  draw- 
ing, as  well  as  designer  of  furniture;  virulent  in  his  strictures 
on  the  work  of  his  fellows;  wielding  a  scathing  pen  against 
those  "foolishly  staring  after  French  fashions"  while  drawing 
his  own  constant  inspiration  therefrom, — his  feeling  for 
beauty,  his  sense  of  proportion,  his  knowledge  of  construction 
were  unsurpassed,  and  his  furniture  was  the  most  exquisite 
in  line  and  detail  that  England  had  produced.  Chippendale 
was  far  more  virile  and  various  than  he,  but  the  work  of 
Sheraton  is  the  perfection  of  refinement.  Without  him  the 
furniture  of  his  country  would  have  lacked  that  final  touch 
of  blithesome  grace  and  charm  so  notable  in  the  mobiliary 
elegance  of  France,  translated  thence  by  him  to  English 
soil,  and  still,  somehow,  through  his  own  personality, 
transmuted  into  English  furniture.  In  his  cabinet-work  he  was 
not  less  successful  in  refining  upon  the  staple  forms  of  his 
predecessors  and  giving  them  a  new  and  unmistakable 
individuality  of  his  own.  It  is  difficult  to  render  homelike 
a  mode  so  elegant  and  slender,  but  he  accomplished  it. 

The  settee  in  Plate  134  is  of  his  most  popular  form,  and 
very  comfortable  it  is:  the  chairs  are  those  of  later  years 
under  Directoire  influence — their  source  will  readily  be  seen 
in  examining  the  table  and  foremost  chair  in  Plate  143. 
His  more  characterististic  mode,  with  the  baluster  arms 
agreeing  with  those  of  the  settee,  is  shown  in  Plate  131,  but 
this  chair  is  a  very  interesting  American  variant  of  the 
Sheraton  form  and  of  his  time,  and  has  square,  tapered  legs 
with  spade  feet  instead  of  the  more  usual  round,  fluted  leg 
as  seen  in  the  settee.  Another  fine  settee  is  shown  in  Plate 
97,  and  this  is  covered  in  striped  damask,  so  popular  in 
his  time.  A  characteristic  Sheraton  sideboard 'and  table 
appear  in  the  charming  little  dining-room  cut,  Plate  135. 

Several  of  Sheraton's  most  interesting  qualities  were 
necessarily  noted  in  the  brief  treatment  of  Hepplewhite's 


254         THE  SMALL  HOUSE  AND  APARTMENT 

productions.  The  furniture  of  both  is  largely  illustrated  in 
"The  Practical  Book  of  Period  Furniture."  Inlay  was  one 
of  his  favoured  decorative  processes. 

Sheraton  died  in  1806 — the  last  of  the  great  English 
designers  of  furniture.  And  in  his  later  days  arrived  the 
deluge.  Napoleon  became  First-Consul  in  1799  and  Em- 
peror of  the  French  in  1804.  What  French  furniture  then 
grew  to  be  we  shall  soon  learn;  and  with  its  fall  came  that 
of  Thomas  Sheraton. 

There  were  several  lesser  lights  in  the  constellation  of 
great  English  designers  of  the  eighteenth  century,  but  their 
productions  are  not  available  in  modern  American  com- 
mercial furniture. 

THE  NEO-CLASSIC  FURNITURE  OF  FRANCE 

LOUIS  XVI 

What  French  furniture  afterward  became  happily  does 
not  concern  us  now:  our  immediate  consideration  is  with 
what  (together  with  the  restrained  forms  of  the  previous 
reign)  the  writer  is  not  alone  in  feeling  to  be  the  most  beauti- 
ful furniture  ever  designed  for  the  use  of  man. 

Let  it  be  at  once  said  that  there  was  no  difference  what- 
ever in  the  spirit  of  the  times  of  Louis  XV  and  Louis  XVI— 
the  unlikeness  lay  in  the  realm  of  form.  To  illustrate  this, 
bergeres.oi  each  period  have  been  placed  together  in  Plate 
136.  The  first  is  of  the  restrained  contour  of  the  Rococo 
period;  the  second  is  the  Neo-Classic  design  of  Louis  XVI; 
the  one  is  all  curves:  the  other  preserves  a  number  of  them 
but  has  notable  straight-line  feature's  as  well,  and  the  dis- 
similarity in  the  character  of  ornament  will  be  immediately 
noted.  The  side-chair  in  the  same  plate  is  a  faithful  repro- 
duction, and  matching  arm-chairs,  together  with  a  number 
of  other  pieces  in  this  style,  are  supplied  by  the  same  manu- 


PLATE  136 


Manufactured  by  Century  Furniture  Co.,  Grand  Rapids.  Mich. 

LOUIS  SEIZE  SIDE  CHAIR,  REPRODUCTION.     Height  37  in..  Width  191A  in. 
LOUIS  SEIZE  PIANO  BENCH.     Top  50^  in.  x  18^  in..  Height  20  in. 
LOUIS  QUINZE  BERGERE.   REPRODUCTION.     Height  41  in..  Width  30  in. 
LOUIS  SEIZE  BERGERE,   REPRODUCTION.     Height  40  in..  Width  29  in. 


PLATE  137 


M.  Schlesineer,  Inc..  Manufacturers,  Nevr  York  City 
LOUIS  XVI  BEDROOM  SET  FINISHED  IN  ANTIQUE  GREEN 
Decorated  in  the  Italian  manner 


THE  NEO-CLASSIC  INFLUENCE  255 

facturers.  The  piano-bench  is  of  course  modern,  but  of  good 
lines.  Other  fine  furniture  of  this  period  will  be  seen  in 
Plates  7, 1 38,  and  1 39,  while  an  excellent  modern  bed-chamber 
suite  of  this  type  appears  in  Plate  137. 

In  the  fine  modern  interior  views  it  is  to  be  noted  that 
the  pictures  are  correct  in  style  and  framing,  and  the  other 
accessories  excellent. 

The  flat-arched  back  seen  in  the  bergere  was  a  particu- 
larly esteemed  form  in  seating-furniture,  but  settees  and 
chairs  were  of  infinite  variety  and  many  shapes,  and  the 
backs  were  also  oval,  circular,  bowed,  fiddle-backed,  and 
square.  The  arms  were  conveniently  and  gracefully  ar- 
ranged. The  most  usual  types  of  ornament  are  shown  in  the 
examples  illustrated. 

The  straight,  round,  fluted-and-banded  leg  was  universal 
in  seating-furniture  and  most  usual  in  tables.  It  also 
appears  in  many  cabinet-pieces,  but  the  cabriole  leg  survived 
from  the  previous  reign,  though  with  its  curves  very  much 
straightened.  The  square,  tapered-and-fluted  leg  with  small 
block  feet  is  also  seen. 

Even  in  simple  cabinet  pieces  the  metal  work  is  exquisite, 
and  the  chiselled  ornament  in  the  elaborate  commodes  and 
desks  of  the  great  ebenistes  of  the  three  Louis  is  world-famou's. 

Owing,  doubtless,  to  the  reserve  of  the  Anglo-Saxon 
temperament,  cultivated  Englishmen  and  Americans  do  not 
dislike  the  "slight  dryness"  remarked  by  Gallic  writers  in 
Louis  Seize  productions — for  the  style  the  uncultivated 
American  has  no  appreciation  whatever.  We  perfectly 
recognise  that,  in  comparison  with  the  suavity  of  the  curves 
of  Louis  Quinze,  a  rigidity  does  exist,  especially  in  some  per- 
fectly rectangular  cabinet  pieces  with  equally  rectangular 
handles;  but,  except  for  the  latter,  it  is  little  if  any  greater 
than  we  are  accustomed  to  in  Sheraton's  more  geometric 
forms.  In  any  case  its  proportions  are  so  discriminating  and 


256         THE  SMALL  HOUSE  AND  APARTMENT 

delightful,  its  air  of  refinement  and  elegance  so  appealing, 
its  measure  of  ornament  so  satisfactory,  that  this  furni- 
ture is  not  only  to  the  greatest  degree  admirable  but  as  truly 
lovable  as  what  is  usually  designated  "homelike"  furniture. 
To  the  person  of  refinement  and  taste,  to  whom  beauty 
includes  elegance,  it  is  indeed  a  oerfectly  comfortable  and 
intimate  style. 

It  is,  nevertheless,  as  truly  "French"  as  its  predecessor; 
and  those  of  Anglo-Saxon  race  who  from  association  use 
English  Neo-Classic  styles  as  the  basis  for  the  furniture  of 
their  homes  will  find  its  best  use  in  relieving  and  adding  to 
the  beauty  of  British  and  refined  American  pieces. 

The  style  began  about  1760,  a  number  of  years  before 
Louis  XVI  took  the  throne  in  1774,  and  it  continued  until 
the  Revolution  brought  the  deluge  in  1789.  It  was  a  return 
to  antiquity,  but  a  return  marked  at  first  by  a  common-sense 
adaptation  to  modern  needs.  As  time  went  on  archaeology 
became  an  obsession,  and  we  shall  see  the  logical  develop- 
ment of  a  craze  when  we  reach  the  furnishings  of  the  Empire. 
Toward  the  end  of  the  reign  its  beginnings  were  becoming 
only  too  evident. 

During  the  period,  marqueterie  and  lacquer  and  gold 
remained  partially  in  fashion,  the  employment  of  ebony  was 
resumed,  mahogany  came  into  use,  and  furniture  was  also 
painted. 

The  colour  and  design  of  textiles  were  as  exquisite  as  the 
furniture  they  accompanied.  The  beautiful  Beauvais  and 
Aubusson  tapestries,  damasks,  brocades,  silks,  velvets,  and 
printed  linens  were  made  in  hues  and  designs  even  more 
refined  than  during  the  Rococo  period,  softer  tones  being 
used.  Stripes  were  a  "rage"  both  in  France  and  England 
till  the  Empire  brought  in  its  meager  design  and  hard  and 
horrible  hues.  Crimson  damask  even  then,  however,  still 
held  its  long  popularity.  Many  reproductions  or  adapta- 


PLATE  138 


PLATE  139 


THE  NEO-CLASSIC  INFLUENCE  257 

tions  of  these  fabrics  are  upon  the  market  and  may  readily 
be  obtained  through  decorators. 

The  authentic  carpets  of  the  period  were  those  of 
Aubusson  and  Savonnerie.  Reproductions  of  some  of  them  are 
made,  but  if  too  expensive,  an  oriental  carpet  of  small  design 
or  a  hard-wood  floor,  or  plain,  handsome  carpet  with  a  few 
oriental  rugs  will  be  perfectly  in  keeping.  Oriental  articles 
of  all  kinds,  and  particularly  Chinoiserie,  were  most  popular, 
Chinese,  French,  or  Dresden  vases,  figures,  human  and 
animal,  boxes,  incense-burners,  clocks,  candelabra,  and 
small  objects  of  every  description,  provided  that  they  were 
refined  and  beautiful,  found  their  place  as  accessories. 

Wall-paper  was  extremely  popular  during  the  last 
quarter  of  the  century  and  was  of  many  varieties,  some  of 
which  are  reproduced.  Most  of  them  are  too  aggressive  for 
small  rooms  and  the  quiet  stripes  will  be  safer. 

It  has  been  mentioned  that  there  is  a  fair  supply  of  the 
furniture  of  this  style  upon  the  American  market.  Such 
bedroom  furniture  as  the  suite  appearing  in  Plate  94  may  be 
also  used.  Many  pieces  are  also  made  for  decorators  and  the 
highest  class  of  dealers  in  furniture,  and  much  is  imported, 
several  firms  having  their  factories  abroad  and  offices  and 
show-rooms  in  New  York.  One  of  these  firms  reproduce  all 
the  furniture  in  the  drawing-room  of  one  of  the  historic 
French  mansions. 

It  is  unfortunate  that  what  is  known  as  the  straw-seated 
pieces  are  not  reproduced:  these  had  turned  legs  with 
stretchers,  lyre,  slat,  and  baluster  backs,  and  are  charming 
examples  of  the  simpler  furniture  of  the  times.  They  would 
admirably  accompany  English  and  American  cottage  furni- 
ture and  they  possess  more  elegance  of  line.  Manufacturers 
are  missing  an  opportunity  in  not  introducing  these  pieces, 
instead  of  confining  themselves  to  the  ubiquitous  Windsor 
and  slat-back  Anglo-Saxon  varieties. 

17 


258         THE  SMALL  HOUSE  AND  APARTMENT 

DIRECTOIRE  FURNITURE 

The  guillotine  had  done  its  work,  the  heads  of  the 
luxurious,  extravagant,  and  charming  nobility  had  fallen, 
and  France  was  given  over  to  parvenus,  a  government 
which  fancied  itself  the  parallel  of  the  republics  of  the  past. 
Antiquity  was  no  longer,  then,  an  inspiration;  it  became  the 
only  desirable  thing  under  the  sun,  to  be  transferred,  liter- 
ally and  bodily,  into  the  whole  life  of  the  present — its  ideals, 
its  manners,  its  dress,  and  its  furnishing.  If  ever  an  illogical 
idea  was  logically  and  completely  applied  it  was  here.  We 
may  admire  the  thoroughgoing  as  a  quality,  because  of  its 
"finish",  without  being  at  all  enamoured  of  its  results.  In 
furnishing,  those  results  were  the  pomposities  of  the  Empire. 

But  the  process,  as  always,  was  gradual,  and  meanwhile 

A  sense  of  humour  will  always  discern  a  touch  of  the 

comic  in  the  ultra-heroic,  and  there  was  more  than  a  touch 
in  the  way  that,  for  the  time  being,  beauty  outwitted  illogical 
logic.  The  monarchy  and  its  furniture  were  anathema  and 
must  be  changed!  Antiquity  must  prevail!  But  it  so  hap- 
pened that  the  furniture  of  the  monarchy  was  itself  based  on 
antiquity,  custom  cannot  be  swept  away  overnight,  the  love 
of  beauty  inherent  in  such  a  race  as  the  French  does  not 
immediately  die  upon  the  prescription  of  a  group  of  upstarts. 
The  furniture  of  the  monarchy  was  changed — and  became 
that  of  the  Directory. 

Let  us  view  some  of  that  furniture  as  reproduced  in 
Plates  141  and  142  and  the  interiors  in  Plates  140  and  143. 
All  this  is  not  so  bad,  is  it?  Would  that  some  of  our  modern 
iconoclasts  could  achieve  such  beauty!  How  it  was  brought 
to  pass  has  just  been  hinted — the  designers  of  the  period  were 
not  at  once  and  completely  able  to  embody  the  new  prin- 
ciples with  which  they  had  been  embued.  For  a  few  short 
years,  then,  their  procedure  took  the  form  of  a  simplification 
of  the  previous  style  with  minor  changes.  The  rolled  back 


PLATE  140 


Chamberlin  Dodds,  Decorator,  New  York 

A  DINING-ROOM  WITH  18TH   CENTURY  ITALIAN  FURNITURE 

Table  and  Console  painted:   Venetian  Lacquered  Chairs,  Wrought-iron  Standards  with  Fruit  and 

Flowers,  Crystal  Candelabrum  and  Side-lights,  Hangings  in  Green  and  Silver  Brocade 

with  Silver  Gauze  Undercurtains 
Photograph  by  M,  E.  Hewitt  Studio 


Chamberlin  Dodds,  Decorator,  New  York 
A  DINING-ROOM  IN  DIRECfOIRE  STYLE 

Putty-colour  Walls,  Furniture  painted  Putty  and  Green,  Brocaded  velvet  on  Chairs,  Marble  table-top 
in  Black  and  Gold,  Empire  Standards  in  Green  and  Gold  with  Crystal  Candelabra  on  top 


PLATE  141 


"ANDRE"  ARM  CHAIRS.   STYLE  DIRECTOIRE 

Usually  painted  Oyster  White  with  colour  in  the  carvings  and  striping 

DIRECTOIRE  TABLE.      Diameter  4  ft. 

Walnut  and  Painted  finish  combined 


"ANDRE"   SETTEE,   STTLE  DIRECTOIRE 
Length  4  ft.,  6  in.     Accompanying  above  chairs 


Manufactured  by  Chamberlayne,  Inc.,  New  York 


PLATE  142 


Manufactured  by  Chamberlayne.  Inc.,  New  York 
CIRCLE-BACK  SETTEE  AND  CHAIR 
Walnut  with  gold  in  carvings  or  Grey  with  gold  and  black 

ARROW-BACK  CHAIR 
Soft  yellow,  carvings  in  gold,  floral  decoration 

"ELKIN"   ARM  AND  SIDE  CHAIRS 
Walnut  with  colour  and  floral  decoration 

All  Style  Dinctoire 


PLATE  143 


THE  NEO-CLASSIC  INFLUENCE  259 

and  arms  had  appeared  before  the  Revolution  but  were  now 
more  frequently  employed:  straight  legs,  especially  front 
legs,  remained,  but  now  often  gave  way  to  those  curved 
outwardly  toward  the  foot:  the  wide  upper  cross-piece  of 
the  back  now  appeared.  The  illustrations  will  show  the 
prevailing  grace  of  form  and  chastity  of  ornament.  Plates 
90-93  illustrate  modern  breakfast-room  furniture  of  this 
general  type. 

Walls  might  be  of  restrained  panelling  of  the  order  of 
that  in  Plate  140,  or  papered,  or  of  panelling  with  inserts  of 
papers  with  Classical  motifs  as  shown  in  Plate  143.  In  the 
latter  interior  the  sconces  with  the  eagle  of  the  Republic  and 
the  Sphinx  candlesticks  are  to  be  noted.  The  arm-chair  here 
shown  is  on  the  verge  between  the  Directoire  and  Empire 
style:  a  little  awkwardness  in  the  curves  of  the  front  legs  is 
visible — otherwise  its  sweeping  lines  are  admirable. 

THE  CONSULATE  AND  EMPIRE 

The  youth  of  Corsica  became  General  Napoleon 
Buonaparte,  then  in  1799  First  Consul,  and  in  1804  Em- 
peror of  France.  All  things  were  to  become  new,  and  prom- 
inently among  them  the  setting  for  this  new  dignity. 

But  Art  has  little  to  say  to  Self-Consciousness.  The 
attempt  to  create  beauty  by  way  of  a  formula,  a  fixed  deter- 
mination, with  hammer  and  tongs,  will  never  do.  Deter- 
mination is  an  excellent  quality  but  Beauty  is  illusive — and 
when  one  grasps  she  is  not  there.  It  is  only  when  one  creates 
out  of  love  that  he  finds  Beauty's  hand  on  his  shoulder  as 
a  guide. 

With  Desmalter,  Percier,  and  Fontaine,  the  leaders  in 
the  movement,  the  basic  idea  was  not  primarily  the  providing 
of  a  beautiful  style  of  furnishing  generally  appropriate  to  the 
occasion,  but  was  that  of  devising  a  decoration  that  should 
be  a  glorification  of  France  as  a  replica  of  the  ancient  empires 


26o         THE  SMALL  HOUSE  AND  APARTMENT 

and  embodied  in  the  personality  of  Napoleon  Buonaparte. 
And  the  idea  of  reviving  antiquity  to  this  end  became  an 
obsession. 

Poetry,  or. painting,  or  any  other  of  the  arts  may  have 
and  should  have  behind  it  an  idea  as  motive  power,  but  if  the 
promulgation  of  that  idea  becomes  the  first  object  of  the 
creation,  the  result  may  unfailingly  be  labelled  propaganda 
and  not  art  at  its  happiest,  greatest  and  best.  We  may  term 
the  Empire  style  a  furnishing  for  "propaganda". 

The  attempt  to  transfer  the  furniture  of  antiquity 
proved  a  failure — there  was  too  little  of  it  for  modern  needs 
and  it  was  too  unsuitable.  But  Percier  and  Fontaine,  able 
men,  did  remarkably  well  in  supplying  the  Emperor  with  an 
"imperial"  furnishing:  we  may  hate  it,  but  it  was  so  thor- 
oughly what  it  was  purposed  to  be  that  we  must  feel  for  it 
a  sort  of  unwilling  admiration,  accompanied  by  a  smile  at 
its  pomp.  Napoleon  must  have  revelled  in  that  bed-chamber 
of  his! 

Though  the  infection  was  universal  the  case  of  simpler 
domestic  furniture  was  not  so  desperate  and  some  pieces 
are  fairly  likable.  The  cabinet-work  was  composed  of  great 
expanses  of  flat  mahogany  with  metal  mounts.  As  Egypt 
was  one  of  the  favourite  sources  of  "inspiration",  sphinxes 
and  other  emblems  of  its  civilisation  frequently  appeared 
in  this  connexion. 

Especially  toward  the  end  of  the  period  some  chairs  and 
other  furniture  were  of  such  final,  brutal  ugliness  that  they 
rouse  one  to  fury  that  the  great  art  of  France,  in  such  short 
time,  could  have  sunk  so  low. 

Whistler's  contention  that  there  "never  was  an  artistic 
period"  will  not  be  argued  here:  in  decoration  there  surely 
was  an  martistic  one,  and  that  through  a  large  portion  of  the 
nineteenth  century.  It  will  not  do  to  ascribe  this  wholly  to 
the  influence  of  France — great  and  wide-spreading  as  that 


PLATE  144 


PLATE  145 


PLATE  146 


THE  NEO-CLASSIC  INFLUENCE  261 

influence  was:  there  was  a  universal  drying-up  of  the  well- 
springs  of  inspiration  throughout  the  western  world. 

And  so,  in  decoration,  loveliness  passed  from  the  earth — 
to  revive,  briefly,  in  the  work  of  the  American,  Duncan  Phyfe, 
and  then  to  sink  into  her  slumber  of  a  hundred  years.  The 
work  of  the  moderns  is  not  all  bad:  we  can  still  accomplish 
simple  things;  the  furniture  of  Ernest  Gimson  and  others 
is  sterling  and  individual;  we  have  learned  how  to  use  the 
beautiful  things  of  the  past;  but  the  age  is  one  of  appreciation 
rather  than  creation,  and  we  must  still  exclaim,  When  will 
Loveliness  awake! 

ITALY 

When  it  is  remembered  that  during  the  eighteenth  cen- 
tury the  sons  of  the  gentry  of  England  were  dispatched  upon 
the  "grand  tour"  for  the  completion  of  their  education  and 
the  broadening  of  their  views,  it  will  be  realised  that  the 
culture  and  refinement  of  Italy  were  universally  respected. 
In  decoration  her  great  creative  impulse  had  failed  and  she 
was  now  availing  herself  of  the  forms  of  French  and  English 
work,  so  that  whatever  contours  were  then  there  current 
might  almost  unfailingly  also  be  found  in  Italy.  Neverthe- 
less a  distinct  talent  was  evident  in  the  enduing  of  them  with 
her  own  national  characteristics,  thus  rendering  them  partic- 
ularly valuable  in  our  modern  system  of  liberal  furnishing. 
Under  these  circumstances  it  is  unfortunatethatsofewof  these 
pieces  should  be  reproduced  in  American  commercial  furni- 
ture. Considerably  more  may  beobtained  through  decorators. 

One  of  the  cuts  on  Plate  140  illustrates  Italian. chairs  of 
Queen  Anne  affinity.  Plate  145  shows  furniture  of  Neo- 
Classic  type,  and  Plate  146  "Italian  Empire"  or  rather 
Directoire  inspiration.  A  sufficiency  is  generally  procurable 
for  purposes  of  interspersion  with  other  furniture,  as  in 
Plate  144,  but  scarcely  enough  for  an  entire  house  or  apart- 
ment, and  it  therefore  does  not  seem  necessary  or  advisable 


262         THE  SMALL  HOUSE  AND  APARTMENT 

to  recite  the  greatly  varied  decoration  and  furnishing  of 
Italy  during  this  period. 

The  same  may  be  said  of  that  of  Spain,  and  for  the  like 
reason. 

AMERICAN    COLONIAL   AND   AMERICAN    EMPIRE 
FURNISHING 

FURNITURE 

It  being  rather  well  known  that  on  the  Fourth  of  July, 
1776,  the  American  Colonies  declared  themselves  free  and 
independent  of  mother  England,  and  that  at  Paris  in  1782 
England  agreed  to  that  separation,  it  seems  rather  strange 
that  intelligent  people  should  persist  in  naming  as  "Colonial" 
a  furniture  that  did  not  come  into  existence  till  the  beginning 
of  the  next  century. 

Colonial  furniture  is,  naturally,  the  Jacobean,  William 
and  Mary,  Queen  Anne  -  Early  Georgian,  Chippendale, 
Hepplewhite,  and  other  furniture  made  in  America  previous 
to  "the  birth  of  the  nation",  often  somewhat  varied  by  its 
local  makers.  There  were  also  some  Dutch  derivations,  and 
a  few  original  American  forms. 

When  the  new  nation  began  to  find  itself,  there  was,  to 
phrase  it  gently,  a  pardonable  coolness  toward  things  British 
and  a  corresponding  gratitude  toward  France  which  had  done 
so  much  to  aid  us.  Toward  France,  then,  attention  was  strongly 
turned,  and  when  in  that  country  the  Directory,  Consulate, 
and  Empire  succeeded  upon  the  chaos  of  the  Revolution  and 
new  styles  of  decoration  there  developed,  what  more  natural 
than  that  they  be  seized  upon  as  a  basis  for  America  to  follow  ? 
These  local  variants  of  French  furniture  are  therefore  prop- 
erly known  as  American  Empire,  the  term  Empire  being 
a  generic  one  often  broadly  given  to  the  whole  period  in 
France.  It  is  these  very  pieces  which  are  most  often  carelessly 
called  "Colonial". 


PLATE  147 


Manufactured  by  Charak  Furniture  Co.,  Boston,  Mass. 

SHERATON  CONSOLE-TABLE  AND   HEPPLEWHITE  SIDEBOARD  IN  SATINWOOD  MARQUETERIE 
DUNCAN  PHYFE  DINING-TABLE.     54  in.  diameter,  8  feet  extension 

BLOCK-FRONT  DESK.     Length  44  in.,  Depth  23  in.,  Height  42  in. 
GOVERNOR  WINTHROP  DESK,   SERPENTINE  FRONT.     Made  in  3  sizes 


PLATE  149 


Manufactured  by  Cbarak  Furniture  Co..  Boston.  Mass. 
COLONIAL  AND  AMERICAN  EMPIRE  BEDROOM   FURNITURE  IN  SOLID  MAHOGANY 


THE  NEO-CLASSIC  INFLUENCE  263 

We  have,  then,  to  give  attention  to  two  typesof  American 
furniture — the  English  and  the  French — distinct,  but  after 
all  well  blended  by  the  American  consciousness,  already 
making  itself  felt.  Furthermore,  it  must  at  once  be  recog- 
nised that,  while  there  was  a  considerable  amount  of  simple, 
primitive  furniture  constructed,  the  cabinet-makers  of  the 
period  were  of  English  birth  or  immediate  descent,  well- 
trained  and  of  decided  ability.  Furthermore  the  social  life 
of  America  had  advanced  to  a  marked  degree  and  there  was 
a  great  demand  for  all  the  amenities  of  other  civilisations. 

Let  us  first  consider  the  furniture  of  English  provenance. 

Some  pieces  of  the  earlier  periods  found  their  way  across 
the  Atlantic  with  the  settlers  of  those  times  and  a  greater 
number  were  made  here;  but,  naturally,  with  the  develop- 
ment of  the  country,  the  demand  for  household  goods 
greatly  increased;  the  styles  most  common,  then,  were  those 
from  that  of  Queen  Anne  to  Sheraton,  inclusive.  Nor  must 
those  of  Dutch  inspiration  or  native  American  devising  be 
forgotten.  Such  furniture  as  appears  in  Plates  4  (lower  cut), 
24,  60,  115,  125,  127,  131,  132  and  135  is  Colonial,  the  greater 
proportion  of  British  forms  being  made  here  as  well.  Special 
attention  is  drawn  to  the  Chippendale  ladder-back  chair  and 
the  Sheraton  chair  appearing  in  Plate  131.  These  are  faith- 
ful reproductions  of  American  pieces  of  their  period,  show- 
ing slight  deviations  from  their  English  prototypes  but 
well-proportioned,  fine  of  line,  and  incisive. 

Referring  to  the  illustrations  given  in  this  chapter,  the 
console-table,  sideboard,  and  serpentine  desk  on  Plate  147 
and  the  highboys  on  Plate  148  are  all  of  like  excellence.  In 
Great  Britain  the  use  of  highboys  died  out  with  this  period 
and  wardrobes  came  into  favour,  but  in  America  they  per- 
sisted for  many  years.  In  this  connexion  there  is  an  inter- 
esting fact  which  has  never  before  been  noted.  In  America, 
and  particularly  in  Philadelphia,  highboys  were  made  intell- 


264         THE  SMALL  HOUSE  AND  APARTMENT 

igently  and  completely  carrying  out  the  Chippendale  style— 
and  yet  Chippendale  himself,  to  the  best  of  the  writer's 
knowledge  and  belief,  never  made  a  highboy!  Wonderful 
pieces  of  furniture  they  were,  too,  and  those  by  William 
Savery  (1722-1787)  and  other  excellent  makers  now  fetch 
high  prices.  It  may  be  mentioned  that  a  close  investigation 
of  all  the  arts  in  early  Philadelphia  is  now  being  carried  on, 
and  regarding  this  we  may  use  words  from  Hans  Andersen's 
"The  Snow  Queen":  "When  we  shall  have  got  to  the  end 
we  shall  know  more  than  we  do  now. " 

America  made  many  variations  in  the  four  post  beds  of 
British  origin,  many  of  which-  are  charming.  They  are  usu- 
ally to  be  recognised  as  of  Chippendale,  Hepplewhite,  and 
Sheraton  type  but  often  present  distinct  proportions  and 
special  features.  This  was  quite  in  order,  and  it  was  pre- 
cisely what  all  other  nations  did  in  taking  to  their  own  the 
styles  of  other  countries;  but  let  this  not  be  seized  upon  as  a 
justification  for  the  "adaptations"  of  present-day  designers 
of  commercial  furniture — it  does  not  invariably  so  much 
matter  what  one  does  in  this  world  as  how  it  is  done! 

So  was  it  with  the  French  styles  which  America  took 
over  as  a  basis  for  its  own  product.  Far  more  than  with  the 
English  modes  were  changes  made.  In  cabinet-work  partic- 
ularly the  flatness  of  the  Empire  style  was  oftener  relieved 
by  corner  pillars,  the  structure  was  made  more  evident,  the 
metal  mounts  were  generally  omitted,  and  pomp  was  dis- 
carded as  unbefitting  to  a  republic  and  the  general  manner 
of  life. 

American  developments  make  a  decided  contribution  to 
the  array  of  furniture  employed:  especially  to  be  noted  are 
the  acanthus-carved  high  and  low  posts  of  bedsteads,  the 
manner  in  which  the  spiral  form  was  used  in  chests  of  drawers 
(in  America  generally  called  bureaus)  and  bedsteads  (Plate 
149)  and  the  beautiful  pedestal-tables  with  acanthus. 


THE  NEO-CLASSIC  INFLUENCE  265 

pineapple,  and  other  bases.  The  block-front  (see  upper  desk 
in  Plate  147)  little  used  in  England,  was  a  favourite  here,  and 
the  shell  was' largely  employed  as  an  ornament.  There  is  an 
old-time  charm  in  many  pieces,  such  as  the  chest  of  drawers 
and  bedstead  with  spiral  turning,  the  block-front  desk,  and 
the  highboys,  hardly  to  be  found  in  any  other  furniture. 
Plate  28  (except  the  rocking-chair)  shows  late  pieces  of  desir- 
able form  and  decoration.  But  here,  as  elsewhere,  the  end 
was  at  hand;  the  sense  of  beauty  was  exhausted,  finesse 
disappeared,  ornament  grew  degenerate,  clumsiness  became 
a  horror.  The  positive  brutality  of  some  later  manifesta- 
tions was  equal  to  anything  perpetrated  by  the  Empire  style 
in  France. 

But  through  this  debasement  a  clear  light  shone — that 
of  Duncan  Phyfe:*  until  he  ceased  his  labours  beauty  still 
remained.  And  why?  Because  he  took  as  his  inspiration 
the  furniture  of  the  Directory  and  not  that  of  the  Napoleonic 
period.  One  of  his  simple,  graceful  tables  is  shown  in 
Plate  147. 

And  now,  with  all  the  charm  we  have  been  considering, 
does  it  not  seem  hard  to  say  that  if  any  furnishing  needs 
relief  it  is  that  of  America?  This  is  simply  because  it  has 

*Duncan  Phyfe  is  of  such  importance  in  the  annals  of  American  furniture-making  that 
the  reader  will  welcome  the  following  details  kindly  supplied  by  Charles  O.  Cornelius,  Esq. 
of  the  Metropolitan  Museum  of  Arts,  New  York  City. 

The  Phyfe  family  came  from  Loch  Fannich,  thirty  miles  from  Inverness,  Scotland, 
and  settled  in  Albany  in  1783  or  1784.  Duncan,  the  second  son,  was  then  about  sixteen 
years  old,  and  learned  the  cabinet-maker's  trade  in  Albany  where  he  probably  did  com- 
paratively little  work,  later  moving  to  New  York  and  settling  in  Broad  Street.  In  1795, 
he  finally  settled  down  at  35  Partition  Street,  then  a  part  of  Fulton  Street.  In  1837, 
he  was  advertising  under  the  name  of  Duncan  Phyfe  and  Sons,  and  in  1840,  Duncan 
Phyfe  and  Son.  In  1847  he  retired  from  business  but  still  continued  to  live  in  Fulton 
Street  until  his  death,  which  occurred  August  16, 1854,  in  the  eighty-sixth  year  of  his  age. 

Phyfe  evidently  started  with  just  one  house  on  Partition  Street,  No.  35,  but  soon 
acquired  the  two  next  door — 33  and  34 — where  he  worked  and  sold  up  to  1817-1818.  At 
that  time  the  name  of  the  street  was  changed  to  Fulton,  and  the  numbering  reorganized. 
His  house  was  No.  169  Fulton,  and  across  the  street  the  first  three  buildings,  168-170-173 
were  his  shop,  warehouse  and  workroom.?. 


266         THE  SMALL  HOUSE  AND  APARTMENT 

been  overdone,  because  the  manner  in  which  it  is  employed 
has  become  maddeningly  monotonous.  It  is  perfectly  pos- 
sible to  use  this  furnishing  correctly  without  one's  home 
resembling  that  of  all  his  neighbors  (see  Plates  150  and  151). 

COLOUR 

Much  of  this  monotony  lies  in  the  timid  use  of  colour. 
A  large  amount  of  plain  surface,  to  be  sure,  is  intrinsic  in  the 
style,  and  rightly  so,  thus  giving  us  the  greater  opportunity 
for  the  employment  of  beautiful  hues  in  the  furnishing..  All 
the  home-made  and  home-dyed  fabrics,  the  hand-wrought 
ornaments  used  in  the  simplest  interiors,  show  that  our 
forefathers  and  foremothers  had  an  abundant  sense  of  colour, 
while  the  wealthier  classes  revelled  in  the  newest  fabrics  from 
across  the  seas,  not  only  in  raiment  but  in  household  appur- 
tenances. The  principle  upon  which  they  worked  being 
understood,  we  may  even  go  further  than  they  without  a 
violation  of  the  spirit  of  Early  American  furnishing:  they 
availed  themselves  of  all  that  their  circumstances  and  some- 
what isolated  position  allowed — beautiful  fabrics,  both 
inexpensive  and  luxurious,  were  not  then  beckoning  from 
every  decorator's  window.  From  the  wealth  of  materials 
now  provided  we  may  select  that  which  is  appropriate, 
and  it  is  our  own  fault  if  our  homes  are  not  those  of  beauty 
and  individuality. 

A  few  colour-schemes  especially  suited  to  Colonial 
interiors  will  be  found  among  those  shortly  to  follow,  but 
a  number  of  those  mentioned  elsewhere  throughout  the 
volume  will  be  equally  appropriate. 

WALLS 

Wall-surfaces  afford  another  field  for  variety.  White 
was  preferred  in  America,  it  is  almost  universal  in  Colonial 
interiors  to-day,  and  there  is  nothing  better:  but  colour  was 


PLATE  150 


PLATE  151 


A  HALL  OF  INDIVIDUALITY  AND  CHARM 

Home  of  Misses  Jessie  Willcox  Smith  and  Violet  Oakley.  St.  Martin's,  Philadelphia 
Special  interest  fiven  by  lantern,  oriental  curtain,  rue,  and  pleasine  accessories 


THE  NEO-CLASSIC  INFLUENCE  267 

largely  used  also,  it  is  equally  attractive  and  more  distinctive. 

Architectural  styles  are  always  more  slowly  adopted 
than  those  of  movable  furnishings  and  the  wall-treatments 
were  those  of  England  twenty  or  thirty  years  earlier.  These 
have  already  been  described  in  the  British  section  and  we 
have  seen  that  tones  such  as  grey,  grey-green,  buff,  brown, 
pale  yellow,  blue-green  and  green-blue  were  used.  Gilding 
was  often  applied  to  carvings  and  mouldings.  Natural  wood 
was  also  to  some  degree  employed. 

When  the  plain-wall  surface,  unbroken  from  baseboard 
to  cornice,  came  into  use  in  America,  tints  of  grey,  pearl, 
putty,  buff,  and  the  pale  Adam  green  were  in  great  favour. 
It  is  evident  enough  by  now  that  the  white  wall  was  by  no 
means  ubiquitous,  and  that  we  may  consistently  apply  any 
of  these  tones.  Treatments  approaching  the  elaborate  would 
require  the  services  of  a  decorator  but  plain  tints  are  entirely 
within  the  scope  of  the  householder.  It  is  to  be  remembered, 
however,  that  everything  depends  upon  the  tone  being 
agreeable  to  the  interior,  and  that  the  average  painter  is  a 
being  devoid  of  anything  resembling  taste:  the  occupant  of 
the  home  should  therefore  exercise  an  entire  superintendence, 
choose  the  tint  desired,  and  see  that  it  is  applied.  It  is  an 
excellent  plan  to  paint  a  wide  board  and  have  it  held  against 
the  wall,  so  that  the  effect  may  first  be  judged  before  the 
work  is  begun. 

With  strong  tones  as  the  background  of  the  entire 
premises  the  householder  often  finds  it  difficult  to  manage 
the  colour-schemes  of  the  various  rooms,  so  that  a  hint 
previously  given  may  be  repeated  here.  It  is  possible  to  use 
a  strong  tone  upon  the  walls  of  one  or  two  principal  rooms 
and  a  lighter  tint  of  the  same  hue  upon  the  remaining  ones, 
thus  still  preserving  unity  throughout.  With  tones  upon 
the  walls  the  woodwork  may  remain  white  or  white  slightly 
tinted  with  the  wall-tone. 


268         THE  SMALL  HOUSE  AND  APARTMENT 

Wall-papers  were  extensively  used  both  upon  plain  walls 
and  over  wainscots,  and  a  number  of  the  Colonial  designs  are 
now  reproduced.  Landscapes  with  figures  and  Classical 
buildings,  mythological  and  Chinese  subjects,  and  patriotic 
scenes  were  among  them.  Many  are  very  obtrusive,  and  the 
writer  suggests  the  use  of  only  those  quiet  in  tone  and  con- 
trast if  decorative  features  and  colourings  are  elsewhere  to 
be  employed.  Fabric-covered  walls  are  a  resource  for  hand- 
some drawing-rooms  or  reception-rooms.  These  will  require 
the  aid  of  a  decorator. 

A  LIBERAL  INTERPRETATION 

Our  American  captains  sailed  the  wide  seas,  bringing 
home  with  them  many  objects  of  interest;  Washington, 
Jefferson,  and  numerous  others  were  not  slow  in  availing 
themselves  of  European  fashions.  With  our  wider  knowl- 
edge of  the  furnishings  then  current  upon  the  continent  and 
our  increased  facilities  in  obtaining  them  there  is  no  reason 
why  we  should  be  so  exceedingly  timid  in  relieving  American 
furniture  by  the  use  of  the  pieces  of  other  nations  under  the 
same  decorative  impulses.  Our  own  Duncan  Phyfe  selected 
the  Directoire  style  as  his  inspiration:  why  not  add  a  few 
pieces  in  the  French  mode  such  as  those  illustrated  in  Plates 
141  and  142?  Italy,  during  the  whole  eighteenth  century, 
adopted  the  styles  of  other  countries,  enduing  them  with 
interesting  characteristics  of  her  own  (Plates  140,  145  and 
146);  why  neglect  them  now?  Lacquered  furniture  was 
not  very  frequent  here,  but  during  the  whole  period  was  a 
craze  in  England.  What  variety  it  affords! — let  us  use  it. 
There  is  but  one  obstacle  in  our  employing  any  of  these — 
that  of  expense:  none  of  them  are  " cheap".  But  if  we  have 
the  means,  they  may  be  secured  through  any  first-class 
metropolitan  decorator.  The  alert  with  less  well-filled 
pocket-books  may  occasionally  come  across  a  bargain. 


THE  NEO-CLASSIC  INFLUENCE  269 

LIBERAL  NEO-CLASSIC  FURNISHING 
Now  why  should  we  deliberate  and  puzzle  our  brains  in 
choosing  between  the  use  of  the  sterling,  home-like  furnish- 
ing of  England  and  America,  the  elegance  of  France,  and  the 
gaiety  of  Southern  Europe?  Let  us  have  all.  Or,  rather,  be 
it  drily  remarked,  all  that  the  furniture-manufacturers  and 
the  state  of  our  pocket-books  permit  us  to  have.  The  supply 
of  English  and  American  styles  is  abundant  and  as  cheap  as 
any — no  worthy  period  furniture  can  in  the  nature  of  the  case 
be  called  cheap  nowadays.  Good  French  pieces  are  also  pro- 
curable but  at  somewhat  higher  figures,  owing  to  their  more 
ornamental  character.  Some  Italian  reproductions  are  to  be 
had,  a  few  in  commercial  furniture  and  a  greater  number 
from  the  better  class  of  decorators.  If  one  can  afford  an- 
tiques he  may  revel  in  all.  Metal  furniture,  such  as  consoles, 
curule  chairs,  faldstools  and  the  like  should  be  considered. 

The  cabinet-making  Antique  dealers  should  not  be 
forgotten  in  this  connexion,  for  reproductions  of  English  and 
American  styles  from  Queen  Anne  to  American  Empire, 
inclusive,  are  their  specialty.  These  reproductions  are 
faithful,  thoroughly  well-made,  and  hand-finished,  and  their 
prices  compare  very  favourably  with  department-store  period 
furniture.  Even  antique  pieces  may  often  be  bought  at 
reasonable  figures.  Such  cabinet-makers  exist  in  all  the  old 
Eastern  cities.  Only  well-established,  reliable  men  should 
be  dealt  with,  for  these  may  be  depended  upon. 

Though  Louis  XV  furniture  is  of  the  previous  epoch  its 
spirit  has  been  shown  to  be  the  same  as  that  of  his  successor, 
and,  notwithstanding  the  difference  in  form,  the  two  accom- 
pany each  other  surprisingly  well.  In  drawing-rooms,  re- 
ception-rooms, boudoirs,  and  bed-chambers  of  the  better 
class  we  should  fail  in  an  appreciation  of  beauty  if  we  neg- 
lected to  avail  ourselves  of  such  pieces  in  connexion  with 
English  and  American  furniture. 


270         THE  SMALL  HOUSE  AND  APARTMENT 

No  better  illustration  of  the  interest  to  be  secured  by  the 
employment  of  a  few  articles  of  foreign  provenance  could  be 
given  than  in  the  charming  living-room  pictured  by  Plate  5. 
The  table  to  the  left  is  of  Sheraton  type;  the  table  and  chair 
to  the  right  are  eighteenth  century  Italian — what  attraction 
these  latter  two  pieces  give  to  the  whole  interior! 

English-speaking  people  will  usually  avail  themselves  of 
English  or  American  furniture  as  a  basis  (except  where  other 
decoration  is  deliberately  chosen  or  in  Spanish-American  or 
Italian-American  houses  and  apartments)  but  limiting  our- 
selves to  such  styles,  when  the  movement  they  represented 
was  world-wide,  is  not  only  a  decorative  mistake  but  an 
absurdity.  This  world  has  always  been  much  a  more 
cosmopolitan  abode  than  most  self-sufficient  moderns  dream ! 

Those  who  cannot  afford  foreign  furniture  may  at  least 
use  a  variety  of  forms,  adding  interest  by  the  employment  of 
the  more  unusual  accessories  as  in  Plates  97  and  128  (right) 
described  in  the  text  on  pages  207-8. 

THE  ADAPTABILITY    OF    NEO-CLASSIC    DECORATION 

The  characteristics  of  this  period  have  been  indicated  as 
we  proceeded:  its  adaptability  is  evident  when  we  realize 
that  it  is  the  closest  epoch  to  our  own  as  regards  both  time 
and  manner  of  life.  The  furniture  is  all  of  moderate  size  and 
weight,  particularly  appropriate  to  rooms  of  modest  dimen- 
sions; the  spirit  of  its  decoration  is  universally  cheerful;  its 
qualities  are  homelike  and  practical;  and  it  is  susceptible 
of  both  simple  and  elegant  interpretation. 


COLOUR-SCHEMES   APPLYING    TO  VARIOUS    STYLES 
OF  DECORATION 

THE  large  number  of  schemes  given  throughout  the 
sections  on  Modern  furnishing  are  equally  valuable  for 
period  practice,  strong  or  quieter  tones  being  chosen  according 
to  the  intensity  employed  during  each  epoch,  which  has  care- 
fully been  noted  as  we  preceded.  Appropriate  patterns  are 
also  shown  in  the  interior  views  and  on  the  furniture  illus- 
trated. The  management  of  colour  was  minutely  described 
in  the  Modern  sections,  and,  that  there  may  be  no  possi- 
bility of  misunderstanding,  will  be  repeated  here. 

To  preserve  unity  the  principal  colours  chosen  are  carried 
throughout,  as  a  keynote. 

To  secure  variety  they  are  employed  in  different  situa- 
tions, in  different  quantities,  and  often  in  varying  shades  and 
intensities,  particularly  in  non-communicating  rooms;  and, 
with  these  keynote  colours,  are  used  other  harmonising  tones, 
these  also  being  varied  in  the  different  rooms.  Combined 
colourings,  as  in  printed  linens,  oriental  rugs,  and  other  tex- 
tiles, are  of  great  aid  in  affording  variety  and  interest. 

To  give  relief,  there  should  be  abundant  large  surfaces  in 
quiet  tints  and  tones. 

As  such  fascinating  results  may  be  secured  by  the  use  of 
the  simplest  and  most  inexpensive  fabrics,  there  is,  when  we 
consider  the  wealth  of  the  beauty  continually  spread  before 
our  eyes  in  the  direction  of  wonderful  textiles  of  all  descrip- 
tions, absolutely  no  excuse  for  the  dull  and  commonplace 
homes  we  continually  find  among  those  having  a  competence 
of  this  world's  goods.  One  would  think  it  impossible  to  resist 
availing  themselves  of  such  facilities!  . 

And  these  fabrics  so  often  suggest  what  might  be  done! 
After  looking  through  a  decorator's  shop  recently,  the  writer 
found  three  of  the  textiles  there  seen  remaining  especially  in 

271 


272          THE  SMALL  HOUSE  AND  APARTMENT 

his  memory.  They  were:  a  rich  printed  linen,  mulberry 
the  prominent  note,  next  to  that  a  deep  blue,  and,  with  these, 
lesser  notes  of  charming  green  and  tan:  an  irridescent  silk  of 
grey  and  mulberry:  a  deep  blue  velvet  with  a  double  thin- 
line  stripe  of  lighter  blue,  the  stripes  being  perhaps  three- 
fourths  of  an  inch  apart.  While  there,  these  did  not  at  all 
connect  themselves  in  the  writer's  mind,  but  afterwards  he 
found  himself  combining  them,  and  in  this  fashion: 

Printed  linen  curtains  at  the  windows,  with  over- 
curtains  of  the  irridescent  mulberry  and  grey,  drawn  back 
in  different  degrees  so  that  both  should  be  visible.  The 
velvet  precisely  accorded  with  the  blue  in  the  linen,  therefore 
use  that  for  the  furniture  coverings.  The  rugs  might  be 
either  mulberry  or  grey.  The  notes  of  green  and  tan  would 
be  repeated  in  accessories.  The  walls  would  be  of  a  linen 
white,  like  the  background  of  the  linen.  There  would  be 
the  glint  of  metal  in  the  picture-frames,  candlesticks,  and 
lamp-mountings,  and  the  beautiful  surface  of  porcelain  in 
lamp  and  vases.  How  many  other  objects  there  are  from 
which  to  choose  for  the  giving  of  interest  and  charm- 
mirrors,  screens,  hanging  or  processional  standard-lanterns, 
sconces,  plaques,  tiles,  mural  ornaments  of  carved  and  poly- 
chromed  wood  or  of  plaster,  busts  and  statuettes,  crystal 
balls,  boxes  and  caskets,  beautifully-bound  books,  flowers 
and  plants — one  could  go  on  almost  indefinitely.  Cannot 
people  see  it  all — "ces  gens-la  ont-ils  tout  leur  bon  sens?" 

A  few  minutes  later,  at  a  window,  the  writer  stood  look- 
ing at  a  broad  breadth  of  cream-yellow  silk  with  wide  stripes 
of  old  blue  and  old  red,  each  shaded  in  various  tones.  There 
was  the  first  triad  of  colour,  harmonious  and  beautiful,  and 
to  be  carried  out  in  the  other  furnishings.  Of  all  who  passed 
it  on  the  crowded  street  how  many  noticed  it  or  thought  of 
its  possibilities! 

For  those  who  do  think,  a  number  of  combinations  are 


COLOUR-SCHEMES  273 

here  set  down  in  hit-or-miss  fashion,  from  notes  of  such 
things  seen  by  the  writer  at  various  times  or  thought  of 
by  him. 

Grey  silk  drapery  with  buff  and  old  blue  in  the  pattern; 
grey  and  blue  striped  taffeta;  cloth  of  gold.  Use  these 
colourings  with  oyster-white  walls  and  some  old  red  or  deep 
rose  in  the  minor  furnishings. 

Orange,  black,  and  deep  blue  or  grey  blue,  with  green 
and  some  dusky  violet  in  smaller  quantities. 

Sage  green,  quiet  lemon,  greyed  blue,  with  some  rose 
and  black:  silver  or  pewter  and  glass  ornaments. 

Striped  damask  with  cream  ground,  wide  stripes  of  dull 
blue  and  narrow  stripes  of  white  and  dull  red,  used  on  fur- 
niture of  old  ivory  with  black  trim;  black  carpet;  dull  red 
damask  or  brocade  hangings. 

Grey,  orange,  blue,  and  rose-violet  with  touches  of  green 
and  black. 

Cream  walls  with  old  blue  mouldings,  black  lacquered 
furniture  upholstered  in  old  blue,  tan  rug,  lamp  shade  of  old 
rose  and  blue. 

Polished  black  floor,  green  rug,  ivory  or  grey  furniture 
with  green  and  rose  decorations  and  raspberry  upholstery. 
Some  blue  in  the  accessories. 

Lemon  or  primrose  yellow,  delicate  green,  a  little  rose- 
red  and  purple-brown.  (Suggested  by  tones  in  a  tropical 
shell-fish). 

Apple  green  silk  curtains  with  sash  curtains  of  gold 
gauze;  large  chairs  upholstered  in  printed  linen  containing 
tawny  yellow,  rose,  and  apple  green  with  touches  of  dull  blue; 
other  chairs  in  rose;  oyster  white  panelling  with  dull  gold 
mouldings. 

For  Colonial  interior.  White  walls,  mahogany  or  wal- 
nut furniture;  blue  and  white  china;  blue  and  old  gold  striped 
furniture  coverings,  polished  black  floor;  tan  rug  with  blue 

18 


274         THE  SMALL  HOUSE  AND  APARTMENT 

border,  screen  with  small  pattern  of  rose,  buff  and  blue; 
othqr  touches  of  rose  and  rose-red  in  accessories. 

Golden  brown,  sage  green  and  rose-violet  with  copper  or 
brass  bowls.  Some  touches  of  orange. 

Cretonne  of  blue  and  golden  brown  with  some  rose  and 
green;  golden  brown  rug,  blue  furniture  coverings,  parch- 
ment lamp-shade  with  rose,  blue  and  green  decorations. 

Crimson  brocade  hangings,  tapestry  furniture-coverings, 
plain  taupe  floor-covering  with  small  oriental  rugs.  Some 
cloth  of  gold. 

Printed  linen  of  rose,  black,  and  cream;  with  this  use  a 
quiet  green  and  buff.  Some  grey-blue  in  accessories. 

Scarlet,  gold,  amber,  and  green  autumn-coloured  cretonne 
over-curtains  and  screen;  sash  curtains  white;  American 
mahogany  furniture  covered  in  soft  green;  brown  rug;  scarlet 
silk  table-runner,  brass  candlesticks  with  white  or  amber 
candles;  artificial  nasturtiums  in  a  brass  or  green  bowl;  some 
blue-grey  in  accessories.  A  decided  variation  from  the  usual 
"Colonial"  furnishing. 

For  a  very  simple  Colonial  bedroom.  White  muslin 
ruffled  curtains  and  green  Venetian  blinds;  pink  and  green 
sprigged  chintz  on  furniture;  floor  painted  green  like  the 
blinds;  rag  rugs;  rose  lamp  shade  on  a  lamp  of  Colonial 
design;  silver  or  glass  candlesticks  with  tall  white  candles. 
Striped  white  bedspread.  White  walls,  mahogany  furni- 
ture; a  banjo  clock;  two  or  three  old  prints  in  shiny  black  or 
mahogany  frames  with  a  narrow  gold  edge  inside;  an  old 
sampler  with  similar  frame,  a  glass  bowl  of  roses.  The  rag 
rugs  should  contain  a  little  blue  and  tan,  with  rose,  greens, 
and  browns  or  greys.  A  vase  may  add  the  note  of  bluish 
grey.  Silver  or  white  toilet  articles  with  old,  quaint  jars  and 
bottles  with  green  and  rose  in  the  decorations.  There  may 
be  one  of  rose  glass  also. 

or 


COLOUR-SCHEMES  275 

light  cream  walls  with  creamy  yellow  taffeta  over-curtains 
striped  with  either  brown  or  green,  and  cream  white  sash- 
curtains;  creamy  yellow  painted  furniture  with  coverings  of 
quiet  blue;  black  polished  floor  and  rugs  of  tan  and  green; 
pongee  silk  bedspread  or  taffeta  of  about  the  same  colour, 
brass  candlesticks  with  blue  candles.  Some  shade  of  modi- 
fied red  should  be  introduced  with  the  others,  or  some  of 
them  in  the  blended  colouring  of  a  screen,  or  fire-screen, 
or  lamp  shade.  This  should  not  be  of  too  large  design. 
Because  of  the  quantity  of  yellow  employed,  this  would  be 
an  excellent  scheme  for  a  room  with  cold  light  or  little  of  it. 

A  novel  but  appropriate  combination  for  a  Louis  Seize 
drawing-  or  reception-room,  or  one  containing  that  furni- 
ture in  connexion  with  Adam,  Hepplewhite,  or  Sheraton 
pieces,  would  be  peach-coloured  walls  (the  remaining  rooms 
might  have  old-ivory  wall  surfaces) .  The  furniture-covering 
would  be  one  of  the  striped  silks  or  figured  damasks  then 
used,  containing  a  stronger  note  of  the  same  tone  of  peach  in 
connexion  with  fawn  and  old  blue  or  sage  green.  Hard- 
wood floor,  or  floor  covered  with  plain  grey  or  taupe  carpet, 
with  small  oriental  rugs  of  delicate  pattern,  or  of  course 
better  still,  an  Aubusson  carpet.  Silk  over-curtains  and 
portieres  of  the  same  stronger  shade  of  peach  that  appears  in 
the  coverings.  Sash  curtains  of  thin  creamy  white  or  shell- 
pink  silk,  or  shell-pink  and  aquamarine  gauze.  Chinese 
porcelain  vases  and  one  or  two  of  grey-blue;  plenty  of  quiet 
gold  in  picture  frames,  accessories,  and  candlesticks.  The 
most  attractive  pictures  would  be  French  or  English  colour- 
prints  of  the  period,  or  water-colours  of  refined  character, 
either  having  cream-white  mats  and  narrow  gold  frames.  Mir- 
rors, clock,  candlesticks,  and  the  like  should  be  of  the  period. 

Creamy  yellow,  dusky  violet,  and  sage  green  with  a  few 
touches  of  rose. 

Plain    rose,    grey-blue   or   soft   green   glazed   chintzes 


276         THE  SMALL  HOUSE  AND  APARTMENT 

should  not  be  forgotten.  They  also  make  excellent  furni- 
ture coverings  for  summer.  Black  pipings  on  any  of  them 
will  give  added  character  and  style,  and  these  have  much 
greater  individuality  than  the  overworked  figured  chintzes. 
Striped  but  unfigured  plain  surface  damask  with  broad 
central  stripe  of  soft  buff,  a  narrower  one  of  grey-blue,  and 
a  stripe  midway  in  width  of  dull  red.  Dark  blue  line-stripe 
between.  This  immediately  establishes  the  colour-scheme 
for  the  room  and  it  is  only  needful  to  use  draperies  and 
accessories  to  accord  with  it.  Window-  and  door-hangings 
may  be  of  the  grey-blue  or  the  buff,  not  necessarily  matching 
the  particular  intensity  of  the  upholstery  but  lighter  or 
darker  than  the  hue  chosen.  A  couple  of  bowls  of  the  red 
will  be  advisable. 


PART  IV 


APARTMENTS  AND  HOW  TO  LIVE  IN  THEM 

THE  KITCHEN 

FLOORS  AND  THEIR  TREATMENT 

MANTELS  AND  OVERMANTELS 

ARRANGEMENTS 

WINDOW-  AND  OTHER  HANGINGS 

ACCESSORIES  OF  VARIOUS  KINDS 

PICTURES,  FRAMES  AND  ARRANGEMENT 

SCREENS 

ARTIFICIAL  LIGHTING 

FASHION  AND  STYLE 


PART  IV 
SPECIAL  SUBJECTS 


APARTMENTS  AND  HOW  T.O  LIVE  IN  THEM.  THE  KITCHEN.  FLOORS  AND 
THEIR  TREATMENT.  MANTELS  AND  OVERMANTELS.  ARRANGE- 
MENTS. WINDOW-  AND  OTHER  HANGINGS.  ACCESSORIES.  PICTURES. 
SCREENS.  ARTIFICIAL  LIGHTING.  FASHION  AND  STYLE. 


THE  writer  has  been  an  apartment  dweller  for  a  number 
of  years  and  is  in  a  position  for  the  enlightening  of  the 
unbelieving.  He  would  therefore  say  how  much  cooler  in 
summer  is  the  well-chosen  city  apartment  than  the  average 
country-house,  how  much  more  comfortable  in  winter  than 
almost  any  house,  how  much  more  convenient,  and  how 
much  less  one  is  troubled  by  his  neighbours.  Of  course  the 
apartment  house  is  no  place  for  small  children,  but  when 
they  have  arrived  at  years  of  indiscretion,  then — but  he  must 
switch  off  his  enthusiasm  to  a  consideration  of  the  subject 
directly  in  accord  with  the  needs  of  his  readers. 

An  apartment  is  a  compact  assemblage  of  rooms  which, 
unfortunately,  are  apt  to  be  rather  small:  this  compactness 
and  the  fact  that,  except  in  duplex  apartments,  the  rooms 
are  all  on  one  floor  gives  a  greater  publicity  to  the  more 
private  rooms  than  exists  in  a  house.  This  comparative 
publicity,  so  far  from  being  an  objection,  is  good  for  the 
soul's  health  of  any  occupant,  as  it  makes  for  greater  atten- 
tion to  beauty  and  compels  the  "tidiness"  that  our  ancestors 
never  forgot. 

In  the  apartment  there  are  no  attics,  closets  under 
staircases,  and  odd  corners  for  storage,  and  too  frequently 
the  closets  are  not  remarkable  either  for  capacity  or  number. 
On  the  other  hand  the  basements  of  modern  houses  are  pro- 
vided with  locked  "cages",  in  which  may  be  kept  furnishings 

and  trunks,  not  in  immediate  use. 

279 


280        THE  SMALL  HOUSE  AND  APARTMENT 

Apartment  life,  therefore,  makes  for  concentration,  a 
consequent  freedom  from  care,  and  a  general  simplicity  and 
happiness  of  life. 

In  moving  into  apartments  one  of  the  essentials  is 
resolutely  to  get  rid  of  the  things  one  "may  need  some  day" 
but  never  does.  The  disposal  of  such  hoardings  will  be 
found  its  own  exceeding  great  reward,  and  having  exper- 
ienced it  one  is  not  again  likely  to  suffer  an  accumulation. 
It  will  also  enhance  the  general  average  of  one's  possessions; 
for  in  many  a  house  the  quality  of  its  furnishings  is  obscured 
by  the  few  but  strongly  felt  shabby  or  undesirable  pieces, 
and  when  these  are  eliminated  and  the  remainder  placed  in 
a  new  and  attractive  environment  the  result  is  often  a  sur- 
prising improvement. 

Even  with  concentration  it  seems  as  if  the  possessions 
incident  to  modern  life  require  an  immense  deal  of  room  and 
it  is  well  to  set  aside  a  storeroom  if  possible.  In  any  case  it 
is  advisable  in  selecting  furniture  to  provide  as  many  high- 
boys, wardrobes,  secretaries,  and  book-cases  as  may  conven- 
iently be  accommodated.  And  the  box-couch — it  may  be 
covered  with  velour  or  tapestry  and  made  handsome  but  it  is 
still  a  box  and  will  provide  storage.  In  a  long  hall  book- 
cases are  excellent.  A  book-case  is  naturally  a  case  for 
books,  but  an  extra  one,  if  glazed  and  curtained,  may  hide  a 
multitude  of  sins,  or  it  may  be  a  linen-closet — and  unsur- 
passed for  its  purpose.  The  closets  should  be  fitted  in 
modern  manner  and  kept  immaculate.  Such  devices  relieve 
congestion  and  banish  those  enemies  of  the  happy  life — 
confusion,  worry  and  distraction. 

All  sizes  are  relative:  even  a  small  room  may  have  an 
aspect  of  space  and  repose  if  the  objects  within  it  are  pro- 
portionate in  bulk  and  number.  If  the  furniture  possessed 
and  which  must  be  used  is  large,  then,  naturally,'  as  few 
pieces  should  be  employed  in  each  room  as  it  is  possible  to 


THE  KITCHEN  281 

manage  with.  Furnishings  may  often  be  transferred  with 
much  improvement  in  effect.  We  are  all  creatures  of  habit 
and  association,  and,  though  a  deal  of  worry  is  usually  saved 
thereby,  once  in  a  blue  moon  an  uprooting  and  reconsidera- 
tion is  decidedly  advisable.  Certain  rugs,  hangings,  or 
pieces  of  furniture  were  bought  for  a  certain  room  and  have 
been  associated  in  our  minds  with  its  other  furnishings;  so 
that  when  planning  a  change  of  residence  we  are  uncon- 
sciously planning  a  transfer  en  bloc.  Often  a  reassembling 
would  be  an  immense  improvement,  resulting  in  a  freshening 
of  appearance  and  increased  comfort. 

The  apartment  is  the  concentration,  the  epitome,  the 
quintessence,  of  the  house — we  may  choose  the  term  pre- 
ferred. In  furnishing  anew,  even  more  than  in  the  larger 
home  should  discretion  be  used  as  to  the  permanent  back- 
ground and  manner  chosen.  The  previous  sections  of  this 
volume  should  carefully  be  reviewed  and  a  determination 
made  only  when  it  becomes  evident  which  mode  is  best 
suited  to  the  premises  and  ohe's  own  needs  and  manner 
of  life. 

THE  KITCHEN 

The  Kitchen  is  the  workshop  of  woman — mistress  or 
maid:  and  in  either  case  efficiency  is  not  advanced  by  ex- 
haustion. No  man  would  dream  of  working  during  a  large 
portion  of  his  life  under  such  inconvenience  as  these  rooms 
often  reveal;  for  he  well  recognises  that  his  physical  condi- 
tion is  his  capital.  Woman  spends  her  energies  regardless 
of  this  consideration,  and  needlessly — for  the  reformation 
usually  required  is  by  no  means  revolutionary,  difficult, 
or  expensive. 

It  consists  in  such  simple  things  as  these:  a  proper 
selection  of  the  utensils  needed  for  the  particular  family, 
and  their  proper  disposal.  The  latter  means  that  the  things 


282         THE  SMALL  HOUSE  AND  APARTMENT 

continually  used  should  be  immediately  at  hand,  and  that 
they  should  not  need  to  be  fetched  from  the  other  side  of  the 
room.  Those  more  seldom  required  may  go  elsewhere. 

The  greatest  strain  upon  woman's  constitution  is  being 
continually  upon  her  feet.  The  above  is  a  slight  aid  in  ob- 
viating this,  but  the  following  is  much  more  important.  The 
book-keeper  of  a  large  establishment,  with  a  range  of  books 
upon  a  high  desk,  must  move  for  long  periods  of  time  from 
one  to  another.  Watch  him.  Almost  invariably  there  will 
be  a  couple  of  stools:  when  posting  there  is  no  time  really  to 
sit  upon  them,  but  he  will  partially  slide  on  to  the  seat  of  the 
one  or  the  other,  half-standing,  half  sitting,  but  more  or  less 
resting.  When  a  woman  is  ironing  or  pressing  out,  or 
washing  or  wiping  dishes,  why  may, she  not  do  at  least  as 
much?  Because  the  stool  is  not  provided,  and  in  her  care- 
lessness of  physical  well-being  she  would  not  think  of  pur- 
chasing it. 

In  addition  to  at  least  one  chair  there  should  be  two 
stools  of  different  heights,  carefully  adapted  to  her  own  work. 
These  may  be  pushed  under  the  sink  or  placed  in  some  other 
out-of-the-way  but  handy  position.  But  the  woman  will 
find  that  she  will  not  avail  herself  of  these  rests,  notwith- 
standing her  exhaustion  at  the  end  of  the  day,  unless  she  is 
constantly  watchful  for  a  week  or  two — "it  is  too  much 
trouble  to  sit  down",  and  she  has  not  habituated  herself  to  it. 
Let  her  once  do  so  and  she  will  learn  the  difference.  So  with 
conversation:  though  chairs  are  directly  at  hand  two  women 
will  frequently  talk  for  a  quarter  of  an  hour  without  using 
them.  Think  of  the  rest  fifteen  minutes  entire  relaxation  of 
body  will  bring! 

Such  things,  with  orderliness  and  cleanliness,  are  within 
every  woman's  personal  control.  So,  usually,  are  lighting, 
ventilation,  and  general  sanatory  conditions.  Modern  built-in 
features,  such  as  those  illustrated  in  Plate  152,  are  a  great  con- 


PLATE  152 


Manufactured  By  Curtis  Companies,  Clinton,  Iowa 
COMBINATION  KITCHEN  DRESSER  AND  WORK-TABLE 
The  work-table  contains  the  sink,  with  open  plumbing,  and  10  drawers 

One  dresser  may  contain  a  flour  bin  if  desired 
The  work-table  may  also  be  used  without  dressers 


PLATE  153 


Manufactured  by  Armstrong  Cork  Co.,  Lancaster.  Penna. 
'INSET  TILE"  AND  JASPE  LINOLEUMS  MADE  IN  VARIOUS  COLOURS 

One  quarter  actual  size  of  patterns 
The  colouring  runs  all  the  way  through 


FLOORS  AND  THEIR  TREATMENT  283 

venience  and  make  for  concentration.  The  floor,  woodwork, 
and  curtains  should  be  simple,  workmanlike,  and  beautiful. 

The  woman  who  does  her  own  work  will  thus  find  her  life 
less  of  a  burden;  the  mistress  will  learn  that  it  less  difficult  to 
retain  her  maids.  The  writer  has  done  what  he  could;  but 
he  closes  this  section  with  a  sigh — for  he  doubts  if  a  single 
woman-reader  will  make  any  permanent  use  of  these  sug- 
gestions. With  the  utmost  respect  be  it  said  that  she  be- 
comes absorbed  in  the  occupations  of  the  moment  without 
thought  of  eventual  consequences  and  of  issues  greater  to 
herself  and  to  those  to  whom  she  is  dear. 

And  what  man — husband,  father,  son,  or  brother — 
adequately  honours  her  self-forgetfulness,  is  sufficiently  con- 
siderate, watches  over  her  welfare,  and  sees  that  she  secures 
abundant  rest  and  recreation  and  in  the  manner  in  which  she 
herself  prefers  to  take  them! 

FLOORS  AND  THEIR  TREATMENT 

Floors  will  here  be  considered  in  their  various  kinds  and 
from  the  decorative  point  of  view:  if  any  reader  wishes  to 
finish  his  own  he  will  find  full  instructions  in  the  booklets 
sent  to  applicants  by  the  manufacturers  of  the  necessary 
preparations,  which  will  be  mentioned  below. 

STONE,  TILE,  CEMENT,  AND  BRICK 

These  floorings,  very  desirable  in  their  proper  places, 
are  not  often  found  in  small  premises  unless  specially  pro- 
vided. A  marble  floor  is  seen  in  the  hall  illustrated  in  Plate 
9,  tiles  in  the  apartment  Plates  120123  and  in  the  enclosed 
porch  Plate  5QA.  Flag-stone  appears  appropriately  in  the 
breakfast-room  of  the  remodelled  farm-house  Plate  4.  Brick, 
with  a  brick  fireplace,  would  also  be  in  keeping  in  such  a 
room,  or  on  a  porch. 


284         THE  SMALL  HOUSE  AND  APARTMENT 

HARDWOOD  FLOORS 

These  are  usually  provided  in  new  properties  and  they 
are  excellent.  As  they  possess  no  great  apparent  weight — 
as  do  those  in  the  previous  division — their  colour  should  be 
darker  than  the  walls,  so  as  to  lie  in  place  as  the  foundation. 
They  are  commonly  of  light  tone  and  cannot  be  changed  with- 
out much  labour,  so  this  is  another  argument  in  favour  of 
light  walls.  The  dark  floor  has  a  richer  effect  and  staining 
will  produce  this  if  it  is  desired.  The  Colonial  flooring  was 
of  wide  boards  and  this  should  be  remembered  by  those 
desiring  exactly  to  reproduce  such  an  interior. 

FINISHES 

Floors  may  be  waxed,  shellaced,  or  varnished.  Wax, 
the  most  beautiful  of  all,  is  in  the  writer's  opinion  imme- 
diately disposed  of  by  its  dangerous  slipperiness.  This 
surface  also  requires  constant  care. 

Shellac  is  often  regarded  as  a  poorly-wearing  finish,  but 
it  is  very  common,  especially  in  apartments.  The  writer  has 
found  it  quite  permanent  in  his  own,  and  unless  there  is 
heavy  wear  considers  it  very  satisfactory.  Its  rapid-drying 
quality  is  a  great  advantage.  Shellac  should  not  be  applied 
over  an  oil-varnish  or  over  wax  without  removing  them. 

A  good  floor-varnish  undoubtedly  affords  the  best  sur- 
face for  all  purposes  and  heavy  wear.  Its  appearance  is 
almost  as  fine  as  that  of  wax  and  it  is  not  slippery.  If  a 
floor  previously  waxed  is  to  be  varnished,  all  the  wax  must 
be  removed. 

Following  are  the  five  preparations  necessary  under 
various  conditions  in  the  treatment  of  old  and  new  floors. 
There  are  a  number  of  standard  makes,  all  extensively  ad- 
vertised in  the  journals  devoted  to  household  furnishing. 
Each  manufacturer  of  floor  varnish  usually  makes  also  his 
own  brand  of  all  or  nearly  all  the  other  materials  required. 


FLOORS  AND  THEIR  TREATMENT  285 

Paint  and  Varnish  Remover 

Paste  Wood-Filler 

Crack-Filler 

Oil,  Penetrating,  and  Acid  Stains 

Floor-Varnish 

As  has  been  mentioned,  instructions  for  their  use  are 
furnished  in  the  "literature"  supplied  by  the  manufacturers. 

STAINS 

Stains  are  provided  in  many  shades.  Unless  there  is 
much  yellow  throughout  the  property  a  toffee-colour  should 
be  avoided.  A  light  brown,  coolish  rather  than  yellowish, 
is  good.  Walnut,  dark-oak,  and  mahogany  are  excellent, 
according  with  the  wood  of  the  furniture  employed.  A 
polished  floor  of  dead  black  is  one  of  the  best  of  all  colourings, 
being  both  rich  and  smart.  Nigrosine,ablack  aniline-dye, per- 
meates the  wood  deeply  so  that  theeffect  is  durable.  All  stains 
should  be  protected  by  at  least  two  coats  of  floor-varnish. 

THE  PAINTED  FLOOR 

This  treatment  is  decoratively  admirable  in  itself  and 
is  especially  valuable  also  where  the  floor  is  greatly  worn. 
In  the  latter  case  it  must  be  properly  prepared  by  removing 
previous  applications,  filling  and  sand-papering,  three  coats 
of  paint  being  then  given,  protected  by  two  or  three  of 
floor-varnish. 

Plate  2  shows  a  grey  floor — one  of  the  generally  useful 
tones  with  light  grey,  white,  or  oyster  white  walls.  In 
the  house  illustrated  in  Plate  150  the  living-room  floor  is 
black,  while  coloured  floors  are  used  in  the  bed-rooms,  beneath 
uniform  grey  rugs  in  all  these  rooms.  In  one  of  them  the 
floor  is  green  with  a  flowered  striped  paper  in  grey,  rose,  and 
green,  with  painted  furniture.  In  another  the  floor  is  grey,  of 
a  different  tone  than  the  rug,  while  in  the  dining-room  a 


286         THE  SMALL  HOUSE  AND  APARTMENT 

perfectly  plain  blue  rug  almost  covers  a  floor  of  yellow.  Here 
there  are  white  panelled  walls,  white  under-curtains  with 
over-curtains  of  flowered  chintz,  and  American  Empire 
furniture  with  a  banjo  clock.  The  furnishing  in  this  home 
was  all  planned  by  Mrs.  Sabin,  and  for  the  illustration  and 
details  the  writer  is  indebted  to  "House  and  Garden" 

A  grey-blue  or  dark  blue  floor  is  also  good  upon  occasion. 

LINOLEUM 

This  flooring  offers  the  advantages  of  strictly  sanatory 
character,  attractiveness,  and  durability.  Naturally  only  a 
heavy  quality  with  the  colouring  extending  all  the  way 
through  should  be  used.  It  is  better  that  it  should  be 
cemented  down  over  a  felt  paper  and  full  instructions  are 
given  in  "literature"  sent  by  the  various  makers.  After  being 
upon  the  floor  for  about  six  months  it  may  further  be  pro- 
tected by  "Valspar"  or  "Linoleum  Shield".  Some  makers 
recommend  the  use  of  liquid  wax,  and  state  that  if  but  a 
moderate  amount  is  applied  and  that  well  rubbed  in  the 
surface  is  not  slippery. 

The  Jaspe  pattern  is  excellent  for  general  use,  as  it  re- 
sembles the  hardwood  floor  without  the  cracks  of  the  flooring 
boards.  The  tile-effects  are  desirable,  especially  for  halls 
and  sun-porches.  All  are  made  in  various  colourings.  See 
Plates  37,  93,  and  153.  The  plain  colourings  in  black,  grey, 
blue,  green,  etc.  when  varnished  with  the  mentioned  prepara- 
tions give  the  effect  of  painted  floors.  Plain  colours  and 
simple  tile  patterns  are  excellent  for  the  kitchen. 

Ocular  demonstration  is  superior  to  any  amount  of  de- 
scription; here  and  with  the  following  subjects  the  plan  will  be 
adopted,  therefore,  of  referring  the  reader  to  good  examples 
of  each  kind  illustrated  in  this  volume.  Each  is  good  in 
its  own  environment,  so  this  method  will  also  indicate  what  is 
suitable  to  each  character  of  interior. 


ARTIFICIAL  LIGHTING  287 

FLOORS  AND  RUGS 

See  Plates  I,  2,  4,  (lower),  5,  6  (an  especially  good  simple 
rug),  7,  8,  9,  10,  29,  37  (linoleum),  42,  sgA,  63,  66,  68,  69,  77, 
93,  97,  113,  116,  120,  127,  139,  145,  150,  151. 


MANTELS  AND  OVERMANTELS 

See  Plates  5,  8,  10,  n,  29,  75,  98,  100,  114,  122,  123,  124 
(of  the  period),  129,  139,  143. 

ARRANGEMENTS 

See  Plates  2,  5,  8,  9,  10,  12  (beds),  78  (piano  and  wall 
decoration),  123  (alcove),  150  (settee,  chair,  and  stand). 

WINDOW-  AND  OTHER  HANGINGS 

See  Plates  I,  2,  3,  5,  6,  7  (according  to  period,  but  over- 
curtains  better  when  pulled  back  undraped),  35,  37,  42,  68, 
71,  78  (Batik),  79,  80,  100,  114,  116,  126,  138,  151. 

ACCESSORIES  OF  VARIOUS  KINDS 
See  Plates  I,  2,  4  (lower),  5,  7  (beds),  10,  n,  29,  42,  43, 
63,  70,  75,  89,  95  (beds),  97,  98,  100,  114,  115,  120,  121,  122, 
126,  128  (right),  129,  138,  139,  140,  143,  144,  145,  150,  151. 

PICTURES,  FRAMES,  AND  ARRANGEMENT 

See  Plates  2,  4,  5,  7,  9  (especially  good  in  kind  and  ar- 
rangement), 10,  n,  29,  30,  66  (good  mats  and  rightly  hung), 
89,  97,  128  (left),  129,  138,  139,  145,  150. 

SCREENS  ~ 

See  Plates  37,  126,  139. 


288         THE  SMALL  HOUSE  AND  APARTMENT 

ARTIFICIAL  LIGHTING 

There  is  no  utilitarian  advantage  in  lighting  the  ceiling 
of  a  room,  and  every  aesthetic  consideration  is  against  the 
practice.  The  effect  is  garish,  unhomelike,  and  destructive 
of  the  proper  "values".  Light  should  obtain  in  the  occupied 
portion  of  the  room,  the  corners  and  ceiling  going  off  into 
half-tone  and  shadow. 

Side-lights,  lamps,  and  candles  are  therefore  the  proper 
illuminants;  for  practical  employment  lamps  especially,  and 
electric  if  possible.  Crystal  chandeliers  are  "of  the  period" 
in  the  handsome  interior  illustrated  in  Plate  7,  but  for  gen- 
eral use  lamps  are  even  there  preferable.  A  good  light  over 
a  dressing-table  is  a  necessity  (see  Plate  138)  and  in  practical 
homes  scarcely  less  so  over  a  dining-table.  The  usual  domes 
are  inadvisable,  but  a  silk-covered  fixture  on  the  order  of  that 
in  Mr.  Wainwright's  design  (Plate  8)  will  prove  attractive. 

Decorative  high  lights  are  seen  in  several  of  the  English 
interiors  and  they  may  be  used  upon  occasion,  lower  lighting 
being  usually  employed. 

As  lamps  are  the  most  noticeable  objects  in  the  room  at 
night,  and  during  the  day  their  decorative  value  is  of  so  great 
importance,  the  utmost  care  should  be  used  in  their  selection. 
If  it  is  necessary  to  economise  let  it  be  elsewhere  rather 

than  here. 

LAMPS 

See  Plates  2,  5  (especially  good  as  the  two  lamps  agree 
without  matching),  10,  41,  43,  63,  66,  68,  79,  92,  97. 

SIDE-LIGHTS 

See  Plates  5,  9,  10,  n,  12,  37,  75,  98,  100,  114,  124,  126, 
128  (left),  129,  139,  145,  151. 

INTERNS  AND  HANGING  LIGHTS 

See  Plates  I,  7,  8,  29, 42,  59A,  66,  69, 95,  121, 124,  151. 


FASHION  AND  STYLE  289 

FASHION  AND  STYLE 

The  difference  between  mere  fashion  and  intrinsic  style 
is  radical  and  complete.  Fashion  may  be,  and  often  is, 
stylistically  bad,  but  however  good  it  chances  upon  occasion 
to  be,  it  has  but  one  use  in  decoration — to  point  the  way  to 
what  is  to  be  avoided. 

For  a  mode  to  be  in  fashion  to-day  implies  that  it  will  be 
passe  to-morrow — its  main  characteristic  is  impermanence, 
and  no  sooner  is  a  fashion  decreed  than  it  is  tumbled  from  its 
throne  in  favour  of  something  either  better  or  worse  but 
certainly  different.  So,  unless  the  reader  desires  to  chase  a 
phantom  and  furnish  anew  each  year,  mere  fashion  should  be 
ignored.  But  not  so  with  style. 

What  then  is  style?  It  is  the  ultimate  perfection;  of 
appropriateness;  of  beauty,  in  all  its  components — material, 
form,  colour,  contrast,  and  ornament.  Style  also  includes 
directness  of  procedure;  it  includes  snap  and  chic.  When 
the  blacksmith  with  a  few  expert  blows  upon  the  hot  iron 
shapes  the  shoe,  plunges  it  into  water,  places  it  against  the 
horse's  hoof  and  the  spectator  notes  its  precise  fit  he  says: 
"Some  style,  that!"  When  the  artist,  painting  from  nature, 
rapidly,  unerringly,  and  beautifully  gaining  his  effect,  over- 
hears a  bystander  say  to  his  companion:  "That  man  knows 
his  business",  he  happily  smiles  at  what  he  recognizes  is  a 
tribute  to  his  style.  When  the  poet  writes  such  lines  as 

For  old,  unhappy,  far-off  things, 
And  battles  long  ago: 

we  reverently  bend  our  heads;  for  we  cannot  doubt  that 
this  is  style. 


INDEX 


Accessories,  144-5,  198-9,  230,  270, 

287 
Adam   Brothers,   207,   245-7,   249, 

251 

"Adaptations",  211-12 
Adaptation  to  Life,  93 
Altman,  B.  &  Co.,  Plate  55 
American  Climate,  215 

Decoration,    187-8 
Methods,    32,   34-6 
Styles,   250,   253,   262-8 
Antiques,    35,   2IO,   229,    239,    269 
Apartments,  How  to  Live  in,  279-81 
Appropriateness,    30-31,    59,   93-4, 

102-3,  205-9,  224 
Archaeology,  205-6 
Architecture,  26-7 
Arrangement,  59,  75,  81-2,  287 
Armstrong  Cork  Co.,  Plates  37,  93, 

153 

Art  Nouveau,  236 
Aschermann,  Edward  H.,  Plates  3, 
41,  77,  78-81.     Pages  163,   188 
Athenceum,  The,  162 

B 

Balance,  67-9 

Baroque  Influence,  214-33,  234 

Baumgarten,    Wm.    &    Co.,    Plates 

13,  84,  85 
Bay-trees,  122 
Beauty,  78 
Bedrooms,    112-14,    132-4,    151-6, 

166-7,  174-7,  196 
Bedspreads,  133 


Berkey  &  Gay  Furniture  Co., 

Plate  117 
Bottomley,  William  Lawrence, 

Plates   u,    126;  Pages  85,  232, 

242-3 

Boudoirs,  151-2,  174 
Breakfast-rooms,  in,  195 
British  Furnishing,  96,  180-7,   196 
British  Styles,  216-18,  220-23,  225, 

239,  240-42,  244-54 
British  Opinions,  31-6 
Brown-Robertson  Co.,  116 
Built-in  Furniture,   159-60,  282 


Cabinet-makers,   269 

Cabriole  leg,  221,  240 

Card-rooms,    177-9 

Century  Furniture  Co.,  Plates  60, 

82,  84,  101,  106,  107,  109,  no, 

112,  125,  131,  132,  136,  146 
Cescinsky,  Herbert,  248-9 
Chamberlayne,  Inc.,  Plates  86,  90- 

92,  94,  95,  141,  H2 
Chambers,  Sir  Robert,  245 
Charak  Furniture  Co.,  Plates  147- 

149 
Chase,    L.    C.    &    Co.,    Plate    55; 

Page    1 70 
Children,  92,  100 
Child's  Room,  156 
Chinese  Art,  79 
"  Chinese  taste  ",  185,  187,  250 
Chippendale,    Thomas,    237,    239, 

241,  243,  246-250,  263-4 
City  Houses,  53 

291 


292  INDEX 

Colonial,   American,   262-4,   273-4  Contrast,  39,  60   . 

Colour  a  Reality,  39,  44  Coolness,  52-4 

Commingled,  52,  136-7,  271  Costs  in  Furnishing,  27-8,  78 

Complementary,   49  Costs  in  Work,  100 

Deficiency,    44,   98-9  Cottages  and  Bungalows,  96,   115- 

Development,  34  H7>  127—8,  160 

Equipment,    51-4  Country  Houses,  53 

Harmony,   45-51  Crane,  Walter,  198 

Intensity  in,  40,  41,  43,  98  Cretonne     and     Chintz,     52,     136, 

Muddy,  47-8,  51  164-5 

Normal   Hues,   40,   51  Curtains,   121,   132,  137,   142-3 

Practical  Use  of,  39-57  Curtis    Companies,    Plates    51-54, 

Preferences,  44,  98-9  152;  Page  159 

Primary,  40,  41,  45  Cushions,  121,   131-2,  147 

Scale,  42 

Secondary,  40,  41  D 

Supplementary,   49-51 

Tertiary,   48  Davies-Putnam  Co.,  Plates  26,  27, 

Triads,  50,  51,  55,  56  n57       F 

jjnjt     j       --  Dean,     Edward     Clarence,     Plates 

IT          In'   "  120-123;  Page  232 

Variety   in,    55,    179  _                ,       B     .° 

^  ,        c  ,  Decorators      Furniture,     35,     211, 

Colour-Schemes     54-7,    .37,    .37,  268_ 

.58-9,  *7l^  Design,  7,-4,  78-84 

Colouring,  Renaissance  and  Baroque,  Development  Architectural,  1 59-60, 

217 

197 

Rococo   238  Development  by  Householder,  189- 

Neo-Classic,  256-7  igg 

American,   266  Diament,    A.    L.    &    Co.,     Plates    , 

Colourcraft   Co.,    Plate   67 ;    Pages  a8f  37A,  38-40,  43,  46,  47,   56 

J°3~4  Dining-rooms,    no,    128-32,    149- 

Combination-rooms,  128  5I>  I7O,  185,  191-3 

Commercial  Furniture,  35,  106-114,  Directoire  Style,  253,  258-9,   265, 

211-12  268 

Common-sense,  24,  87  Dodds,    Chamberlin,    Plates   7,    10, 

Commonwealth,  The,  221  138,  140;  Page  196 

Conflict,  60,  71,  83,  85,  87  Donne,  John,  38 

Connoisseur,  The,  248  Douglas,   George  William,   6 

Consulate  and  Empire,  259-61  Drawing-rooms,  185,  189-91 


INDEX 


293 


Dutch  Influence,  222,  234,  240-42,     Furniture    Painted,    123-4,    126-7, 


262,  263 


E 


Elizabethan  Period,  217 
Empire,  American,  261-2,  264 
Empire  Style,  256,  259-61 
Erskine-Danforth    Corporation, 

Plates  44,  61,  62 
Eyre,  Wilson,  246 


131,   184 
Overstuffed,   165 
Types,  94 
Furnishing,  Erratic,  35,  59,  99 

Highest     Development, 

180-199 

Furniture    Trade    Organiser,    The, 
Plates  63,  68,  69,  71;  Page  182 


Fashion,  165,  289 


Gimson,  Ernest  W.,  Plates  64,  65; 
Pages  32,   117,    1 8 1-2,   189,  261 
Gimson,  Sydney  A.,  181 

Co     Plate  36;      Good  Furniture  Magazine,  78,  187, 
Page  120  231 

Floors,  103-4,  283-7  Gradud  Furmshing>  28~3O 

Fontaine,  Pierre  Francois,  259-60       Graves'  Robert  Co"  Plate  I27 
Foote-Reynolds  Co.,   Plates  24,  25      Guest-ro°ms,  '77 
Form,  58-87 
Formality,  69,  122 

French  Styles,  180-1,  216,  219,  221,      Halkj  Iig_22>  ^  ^ 
225,    234-8,    240,    254-61,    262,      Hambidge,  Jay,  61 

_,  26\     „.  T7       •  r-          Hangings,    144,    178-9,    192,    217, 

French,    Wm.    A.    rurmture    Co.,  « 

Plates  87-89,  103,  104,  144,  145      Harmony,  39,  45 
Frohne,  Henry  W.,  78  Hat-racks,  123 

Furniture,  American,  35,  106-114,     Heal;  Ambrose,  117 

Henri,  Robert,  61 


211-12 
British,    115-18,    156-7, 

196 

Built-in,  159-60,  282 
Chinese  Red,  177-8,  184 
Damageable,  92 
Development  by,  165 
Form  in,  77—8 


Heppe,  C.  J.  &  Son,  148 
Hepplewhite,  George,  250-52,  264 
Hunter,  George  Leland,  84 


Imperial  Furniture  Co.,  Plates   19, 


Learning  styles  of,   213          20,  132 
"Modern",  104-114  Improvements,  29-30 


INDEX 

Individual  Furnishing,  196-8  Mellor,  Meigs  &  Howe,  246 

Italian    Styles,    214-20,    225,    235,      Mirrors,  142 

239,  261-2,  268  Mission  Furniture,  229 

Modern  Conditions,  26-31 
J  "  Modern  "  Furnishing,  24,  33~35, 

89—199 

Jacobean  Period,  220  , ,    ,         ,   -,-,       ... 

_,          .      ._  Modes  of   Furnishing,   24 

Jones,  W.  J.  Palmer,  Plates  63,  68,  A,       . 

J  J  Morning-rooms,    193-5 

69,     7O,    71 ;    Pages     163,     177,  ,,      .     ,,7.,,. 

**    '  Morris,  William,  162,  202 

_  l  4  ,     ,  Movement,  70-74 

Journal  of  Decorative  Art,  32  „  Movies  "   63 

Myer,  Pieter,  Plates  75,  76;  Pages 

150,  187 

Kent,  William,  241 
Kitchens,  281-3 

Kittinger  Co.,  Inc.,  Plates  105,  108      Napoleonic  Style,  254,  259-61,  265 

Natural  Perceptions,  58,  87 
Neatness,  94-5 
Leavens,  William  &  Co.,  Inc.,  Neo-classic     Style,     239,     244-270, 

Plates  14-17,  22,  23;  Page   106          275 

Liberal  Period  Furnishing,  230,  240,      New  York  City'   23i>  242-3,  257 
268-70  Northern  Furniture  Co.,  Plates  58, 

Libraries,   195-6  59 

Light,  Artificial,  138,  288  Novelty,    25,    30,    98,    158-9,    162 

Natural,  52-3,  138 
Linoleum,    120,   286-7 

Living-rooms,  107,  112,  123-7,  147~  Oak,  102,  203-6 

9  Oetzmann  &  Co.,  Ltd.,  Plates  31, 

Louis  XIV,  221,  234-5  32,  42;  Pages  115-17 

Louis   XV,    85,    235-8,    243,    249,  Oriental  Art,  208 

251,  252,  254,  255,  269  Orinoka  Products,  144 

Louis  XVI,  85,  247,  251-2,  254-9  Overmantels,  163-4 

Overstuffed  Furniture,  75 
M 

Mahogany,  103 

Man,  140-2,  154-5,  175-6  Patchwork,  183 

Manchester  Guardian,   32,  204  Percier,  Charles,  259-60 

Mantels,  287  Period  Furnishing,  25,  26,  201-76 


INDEX  295 

Philadelphia,  263-4  Seating-Stools,    108,    126 

Phyfe,  Duncan,  261,  265,  268  Shades,  in  Colour,  41,  52 

Pictures,    116,   125-6,   155,  287  Shaw,  George  Bernard,  209 

Planning  the  Home,  23-36  Sheraton,  Thomas,  251-4,  255,  263, 

Point  of  View,  97-8  270 

Present  Conditions,  91-5  Sheringham,  George,  Plates  72-74; 

Printed  Linens,  136-7,  151  Pages  186-7 

Proportion,  61,  72-8  Simons,   Elgin  A.   Co.,   Plates,    18, 

Purchasing,  23  m,  133 

Slip-covers,  164 

Q  Sloane,  W.  &  J.,  147 

Qualities   of   the    Styles,    233,    240,  Spanish-American  Style,  226-9,  270 

245  Spanish  Styles,  226-9,  235,  262 

Queen  Anne  -  Early  Georgian,  241-  Stains  for  Furniture,  109-10 

242,  250,  261,  263  Stickley    Bros.    Co.,    Plates   21,    48 

Stickley,  L.  &  J.  G.,  148 
Stripes,   52,    120-4,    126,    134,    147, 
Reception-rooms,  165,  168-70,  189-          H9-5O,  207,  256 

191,  207-8  Stuart  Period,  220 

Rectangular  Lines,  59,  71  Studio,   The,  31,    149,   160 

Renaissance,  The,  214-33  Style,  289 

Rococo    Decoration,    234-40,    243,  Suites,   avoiding,    166,    191 

249,  256  Suites  of  Furniture,  76 

Rodin,  Auguste,  61  Sun-rooms,   167,   172-4 
Rugs,  287 

Placing,  59-60,  71  T 

Selection,    86-7,    103-4 

Size,  76-7  Taste,  199 

Table-runners,  135,  143—4 

S  Temperament,  30,  43,  44,  83,  97~8 

Satinwood,  252  Textiles,  120-23,  H5,  164-5,  271-6 
Savery,  William,  264  Importance  of,  84,   104 

Scale,  60,  74-7  Renaissance    and    Baroque,    217 

Schlesinger,    M.    Inc.,    Plates    83,          Rococo,  238 

102,  137  .  Neo-Classic,  256-7 

Schooling,  William,  61  American,  266 

Scott,  H.  M.  Baillie,  160  Texture,  84-7,  102-3,  205 

Screens,  142,  287  Tints,  41,  52,  101 


296 


INDEX 


Thorpe,  Hall,  R.  B.  A.,  Plates  29,      Wainwright,  Shirley  B.,  Plates, 
30;   Pages    115,    ii 6,    125,    151,          Frontispiece,    8,   66;   Pages    130, 


161,  182 
Tradition,  97 

Trowbridge  &  Ackerman,  159 
Tones,  40,  51,  171-2 
Triads,  substituting,  171-2 

U 

Unity,  23,  55,  99,  100,  179,  271 
Upholstering-work,  168 
Use,  62-7,  86 


149,  1 60,  163,  182-3 
Walls  and  Ceilings,  100-103 
Wall-treatments,    148-50,    160-64, 
169,  179,  182,  184-6,  190,  197- 
8,   206,   215-16,  223,   235,   242, 
243,    245-6,    257,    259,    266-8 
Walnut,  209-10 
Wanamaker,  John,  Plate  45 
Wells,    Percy   A.,    Plates    31,    32; 

Pages  115-17 

Whistler,  James  McNeill,  199 
Wicker  and  Reed,  107,  173,  193-4, 

199 

William  and  Mary,  222-3,  241 
Women,    129,    142,    154-5,   281-3 
Woodwork,  102-3 


Valspar,  149 
Value,  42,  43 
Variety,  55,  179,  271 
Venetian  Furniture,  239 
Visualising,  105,  139 

W 

Young  girls    rooms,  134,  153 

Waals,    P.,    Plates    33,    34;    Pages     Young  Men,  153-5 
117,  1 1 8,  182  Young  People  29,  114 


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